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1
HUSAYN
WA-IZ AL-KASHAFI (D.1504-5), QUR’ANIC COMMENTARY, PERSIA OR INDIA, 16TH/17TH CENTURY
a manuscript in Persian, with an illuminated opening headpiece, the text composed in 25 lines of concise naskh, with phrases in red and within ruled margins in red, yellow and blue, the morocco leather binding with a moulded design of a symmetrical floral design with a central stem, the front with a calligraphic cartouche, approximately 650 ff., folio 26.8 x 15.6cm, text 19 x 9.6cm
£500-800
OFFERED WITHOUT RESERVE
2
ALI AL-QARI AL-HARAWI (D. 1605-06), AL-HIZB AL-A’ZAM, OTTOMAN TURKEY, DATED 1723-4 A.D.
a manuscript copied by Dervish Muhammad, the opening page with an illuminated heading in gold and colour, verses marked by hexafoil gold and lined motifs, the text in eleven lines of accomplished naskh within double gold and black lined margins, embossed and gilt morocco leather binding with a quatrefoil design of formal arabesques, 69 ff., folio 17 x 10.2cm, text 10.1 x 5.9cm
£400-600
OFFERED WITHOUT RESERVE
A COMPILATION OF SHI’I PRAYERS, PERSIA, 18TH/19TH CENTURY
a manuscript of Shi’i prayers in Arabic, the text largely comprising 9 lines of cursive script in black with 9 lines of Persian interstitial text in red, some additions in a different hand, several owner’s seal impressions, morocco leather binding with impressed cartouche designs, approximately 360 pages, folio 17.6 x 9cm, text 12.2 x 5cm
a manuscript of Tusi’s recension of Euclid’s Elements of Geometry, the text composed in 17 lines of elegant cursive script within a gold margin enclosed by blue lines, numerous diagrams in red and black throughout the manuscript within a further double border in black, leather binding, approximately 250 ff., folio 22.5 x 14.1cm, text 15.2 x 6.3cm
Property from a New York private collection. A later owner’s inscription records the manuscript as having been in the possession of Ziya al-Din al-Durri al-Isfahani, dated 1928-9.
a manuscript in Persian, a frontispiece of nasta’liq in blue within an elaborate roundel in gold and colour on a pale green panel, an opening double page with headpiece of scrolling arabesques in gold on a blue ground, the text composed in five lines on a green ground with interstitial floral scrolls on gold with ruled margins around a border of lobed cartouches in blue with gold floral scrolls emanating, 34 ff., folio 30.8 x 20.1cm, text 20.1 x 12.7cm
£500-800
OFFERED WITHOUT RESERVE
6
A COPY OF THE QUR’AN, SIGNED ‘ABDULLAH IBN SAFAR MUHAMMAD ZAMAN, AFSHARID PERSIA, DATED 1749-50
an arabic manuscript on paper, each folio with 15 lines of black naskh in clouds reserved against a gold ground, Persian interlinear translation in red nasta’liq, with gold and polychrome roundel verse markers, set in rede, blue and gold ruled margins, fully illuminated opening bifolium with gold and polychrome palmettes on a ground of scrolling floral motifs, inserted between opening bifolium a folio decorated with gold outlined palmettes and commentary in the margins, the main body of text with sura headings in white muhaqqaq on a gold ground, and Persian interlinear translation in white cusped cartouches on a gold ground, signed a dated in the colophon, 364 ff, a later text in Qajar hand inserted at the end of the manuscript, a lacquered and gilt decorated binding contemporary with the Qur’an, folio 32.5 x 20cm, text 24.9 x 13.3cm
Provenance: Christies, London, 6th October 2011, lot 269.
£5,000-8,000
THREE FOLIOS FROM A SAFAVID SHAHNAMEH FROM A DANISH PRIVATE COLLECTION
FARUD KILLS RIVNIZ, BUT BAHRAM SAVES HIS CROWN, SAFAVID PERSIA, QAZVIN LAST QUARTER SIXTEENTH CENTURY
an illustrated and illuminated leaf from a manuscript of Firdausi’s Shahnameh, in opaque colours, gold and ink on paper, with two lines in nasta’liq written in black ink, verso with twenty four lines of nasta’liq in two columns written in black ink within ruled borders, image 23.5 x 16.8cm, folio 35.6 x 24.1cm
Provenance: A private Danish collection by the 1960s, thence by descent. The present and the two following pages are from a manuscript of the Shahnameh which on stylistic grounds can be confidently attributed to Qazvin. The manuscript has been the subject of extensive research by Jaimee Comstock-Skipp and Asim Saeed resulting in a British Library blog https://blogs.bl.uk/asian-and-african/2022/05/from-georgian-slave-to-safavid-master.html
In this blog, Comstock-Skipp and Saeed attribute these illustrations to the celebrated but elusive painter Siyavush Beg Gurji (c.1536-1616), who, though born in Georgia, moved to Qazvin in 1548. These paintings share a close affinity to those in a late sixteenth century copy of the Shahnameh from Qazvin, now in the al-Sabah Collection, Kuwait (inv. no. LNS 223 MS, see Adamova and Bayani, 2015, pp.459-483, no.32). Another Shahnameh from Qazvin and dated 1604 AD with closely related illustrations is in the British Library (inv. no. IO Islamic 966). In the same collection, a copy of the Garshapnameh of Asad, dated 1573 AD, also has closely comparable illustrations (inv. no. Or.12985).
£3,000-5,000
THE IRANIAN WARRIOR QARIN KILLS THE TURANIAN SHAMASAS, SAFAVID PERSIA, QAZVIN LAST QUARTER 16TH CENTURY
an illustrated and illuminated leaf a manuscript of Firdausi’s Shahnameh, in opaque colour, gold and ink on paper, with five lines of nasta’liq in black ink, recto with twenty five lines of nasta’liq in black ink with a header in red nasta’liq on a gold ground, image 24 x 17.8cm, folio 35.5 x 24.1cm
Provenance: A private Danish collection by the 1960s, thence by descent.
£3,000-5,000
SOHRAB ASKING HOJIR TO IDENTIFY THE IRANIAN MILITARY LEADERS, SAFAVID PERSIA, QAZVIN LAST QUARTER SIXTEENTH CENTURY
an illustrated and illuminated leaf from a manuscript of Firdausi’s Shahnameh, in opaque colour, gold and ink on paper, with four lines of nasta’liq in black ink, verso with ten lines of nasta’liq in black ink above four horizontal bands of diagonally inscribed nasta’liq in black ink, a heading in red ink on a gold ground, 23.7 x 16.7cm, folio 35.5 x 23.4cm
Provenance: A private Danish collection by the 1960s, thence by descent.
£3,000-5,000
10
A QAJAR DRAWING OF A TURBANNED MAN, PERSIA, 19TH CENTURY
ink, colour and gilt on paper, the youthful figure depicted in Safavid dress holding a sickle in his left hand, within a contemporary border of beasts within flowering foliage, image 16.5 x 10.5cm, framed
£800-1,200
11
A PAIR OF QAJAR BOOK COVERS IN A SAFAVID STYLE, PERSIA, 19TH CENTURY
the lacquered papier mache book covers decorated with elaborate chinoiserie scenes in gold and touches of red on a black ground with simurghs, phoenix around a gnarled tree issuing from a rocky outcrop and issuing fantastic lotiform and prunus flowers, the reverse with a plain red ground within a narrow border of floral scrolls, each panel 20.8 x 12.4cm (2)
Provenance: Christie’s, 21st October 2016, part lot 226, from a London collection acquired in the 1970s.
£600-800
12
A LARGE LACQUERED PAPIER MACHE
DECORATED BOOK COVER, PERSIA OR INDIA, 18TH/19TH CENTURY
in colours and gold, a design of floral sprays, including poppies, chrysanthemum and primroses, issuing from a grassy mound, within a border of vegetal scroll reserved on a black ground, with stand, 18.1 x 29.7cm
Provenance: Christie’s, 21st October 2016, part lot 226, from a London collection acquired in the 1970s.
£800-1,200
13
A QAJAR LACQUERED PAPIER MACHE BOX AND COVER, PERSIA, 19TH CENTURY
with a coffered cover and bracketed feet, decorated throughout with polychrome scenes of courtly figures at leisure in a Safavid style, 42.6 x 30 x 21.5cm
£800-1,200
14
A PAIR OF QAJAR LACQUERED PAPIER MACHE
BOOK COVERS, PERSIA, 19TH CENTURY
richly decorated in polychrome and gold with a central lobed medallion enclosing roses and other flowering stems, with further cusped medallions on a ground of interlacing floral motifs, a border in gold reserved on black of interlacing palmettes, the reverse with an interlace of floral and foliate motifs in gold on a black ground, each panel 16.3 x 10.1cm (2)
Provenance: Christie’s, 21st October 2016, part lot 226, from a London collection acquired in the 1970s.
£400-600
A PAIR OF OTTOMAN BOOK COVERS, TURKEY, DATED 1757-8, SIGNED EL-SEYYID MUSTAFA EDIRNI
Pair of book covers, decorated with a central medallion and interiors with floral sprays, each panel 20.1 x 11.6cm (2)
Provenance: Christie’s, 21st October 2016, part lot 226, from a London collection acquired in the 1970s.
This is a rare work by an important artist in this medium. It is inscribed as follows: al-sayyid mustafa adirni 1171 ‘El-Seyyid Mustafa Edirni 1171 (1757-8)’ Among the works signed by this artist, who signed his work with both ‘Edirni’ and ‘Edirnevi’, are a document holder (kubur) in the Sadberk Hanim Museum (11992-Z.405) dated 1185 (1771-2). This is inscribed with the same verses as the present piece. There is another lacquer binding by him on the Divan of the poet Sabit (d. 1712) in the Topkapi Palace Library (H. 877), also dated 1171 (1757-8). A further binding, dated 1180 (1766-7), is in the Hakki Ayverdi collection (Tanindi 2021, pp. 10-17, esp. pp. 10-11, figs. 1a-c, 2). For the Topkapi binding, see Çığ 1953, pp. 75-94, esp. PL. XXXVIII. Similar works signed ‘Derviş Mustafa Edirnevi’ and ‘Mustafa Vehbi Edirnevi’ may also be by the same artist (Tanindi 2021, p. 11).
£1,500-2,500
THE TRIAL BY FIRE OF SIYAVUSH, SUB-IMPERIAL MUGHAL, INDIA, CIRCA 1630
an illustrated page from a Persian manuscript copy of Firdausi’s Shahnama, in opaque colours heightened with gold and ink on paper, recto with one line of nasta’liq in black ink in four columns, verso with twenty lines of nasta’liq in black ink arranged in four columns within black and gold ruled margins, inscribed in two places in a nineteenth century hand in ink ‘No. 64’, the second indecipherable, the folio reduced and housed within a paper mount with further ruled borders, image 16 x 14.6cm, mounted folio 24 x 21.8cm
Provenance: Paris, 4th November, 2014, Collection of Francoise et Claude Bourelier
Sir Thomas Phillips (1792-1872), Ms.34738, the sale of his library Biblioteca Phillipica (9th auction), Sotheby’s London, 27th November, 1974, lot 789
Frances Mary Richardson Currer, Eshton Hall, Yorkshire (1785-1861) Thomas Rood
Phillip Augustus Hanrott (1776-1856), The Hanrott sale, London 5th August, 1838, lot 1295
Mrs. Rebekah Bliss of Kensington (1749-1819), the sale of her library Saunders and Hodgson, 26th April 1826.
It is a testimony to the high regard in which pages from this copy of the Shahnameh were held that they passed into the collection of some of the most renowned bibliophiles of nineteenth century England. The early annotations are probably in the hand of one of these great collectors.
Mrs Richardson Currer is frequently referred to as England’s first female bibliophile but, as we see in the case of this folio and others, Mrs. Bliss of Kensington preceded her by several years and may more rightly claim this title. The sale of the library of Rebekah Bliss (1749-1819) was held by Saunders & Hodgson in 1826 was entitled Bibliotheca Splendidissima: A Catalogue of a Select Portion of the Library of Mrs. Bliss, Deceased, Removed from her Residence at Kensington. A blog by Dr. Davies explores the collecting activities and influences of Mrs. Bliss: see http://rebekahbliss.blogspot.co.uk
This is one of the two pages from this album that were sold in the Sotheby’s sale of the collection of Sir Thomas Phillips in 1974. Two more pages from this manuscript, formerly in the collection of the Hardy family of Chilham Castle, Kent, appeared at auction in India, Saffron Art, 24-25th April 2013, lot 1. Two more are in the collection of the San Diego Museum of Art, formerly with Edwin Binney who had bought them in London at Sotheby’s, 11th December, 1961, lot 64. All of the recorded examples have been trimmed but this is the only example that has text on the verso making it unique amongst the surviving pages.
£3,000-5,000
AN ILLUSTRATION TO A RAGAMALA, BHAIRAVA RAGA, MANKOT, INDIA, CIRCA 1720-30
opaque pigments on paper, the god, Bhairava, depicted on the bull with an attendant with fly whisk, on a rich yellow ground with a band of blue sky across the upper edge, image 20.3 x 15.1cm, folio 25.4 x 19.9cm
Provenance: Christies, New York, 13th September 2016, lot 274, from a private European collection prior to 1970. The collection of Sir Howard Hodgkin (1932-2017) to the present. The composition is very reminiscent of another iteration of Bhairava Raga (see Ebeling, K., Ragamala Painting, Basel, 1973, cat.307, p.275). Both paintings share iconographical tropes of the three-headed Shiva wearing a snake necklace, riding his Brahmin bull, Nandi, and carrying in his four hands a rosary, a trident, a beggar’s bowl and a hand drum. Additionally, the god is accompanied by a devotee standing in front of him. The figure of the devotee is very close to depictions of Raja Man Dhata of Nurpur, who was a devout Hindu. For his portrait depicting him as a yogi (c.1690-1700), see D. Diamond, et al., Yoga: The Art of Transformation, Washington DC, 2013, p.167, cat.no.11A. For two closely related paintings of a single divinity standing against a bright yellow ground, see a depiction of the Goddess Annapurna (L.V. Habighorst, Blumen, Baume, Gottergarten in indischen Miniaturen, pp.116-119, cat.86, and sold at Sotheby’s London, 8 April 1975, lot 166) and a depiction of Brahma riding his crane vehicle, also from the collection of Sir Howard Hodgkin (Topsfield 2012, p.128, no.52 and p.18, illus. p.129). Both are attributed to Mankot, circa 1730.
£5,000-8,000
AN EQUESTRIAN PORTRAIT, RAJASTHAN, INDIA, PROBABLY PAINTED BY A KISHANGARH ARTIST, CIRCA 1720-30
in opaque watercolour heightened with gold on paper, with a depiction of a princely figure on a rearing horse, within a broad landscape with distant rocky outcrops and a hilltop temple, later floral borders mounted on board, inscription on reverse in five lines of text in black ink within a broad blue border with gold and red ruled margins, image 26.9 x 17.9cm, folio 43.2 x 28.7cm
Provenance: Sotheby’s, 16th June 2009, lot 7 The collection of the late Sir Howard Hodgkin (1932-2017) to the present.
Another equestrian portrait of this date, also probably by a Kishangarh artist working in a Mughal style, was sold Sotheby’s, 23rd October 2024, lot 203. £1,000-1,500
A PRINCE AND TWO COURTESANS AT LEISURE, GARHWAL, PUNJAB HILLS, NORTH INDIA, FIRST HALF 19TH CENTURY
opaque pigments heightened with gold on paper, the three figures facing right with the prince holding his hand over the eyes of one of the young courtesans, on a terrace with striped carpet, broad blue and red border, the reverse inscribed with two lines in devanagari, mounted, image 23.3 x 16cm, folio 27.5 x 20.4cm
Provenance: Christies, 25th October 2016, lot 49. The collection of Sir Howard Hodgkin (1932-2017) to the present.
£1,000-1,500
A PORTRAIT OF RAO UMED SINGH, BUNDI, CIRCA 1760-70
opaque colour and gold on paper, the figure of Umed Singh seated on a terrace leaning on a bolster on a crimson carpet, the accoutrements of court, including a sword and shield placed at his feet, a vase of flower to one side, an attendant with a peacock feather fan behind him, a rectangular cartouche on the upper margin with a line of devanagari script, yellow and red margins, framed, image 15.1 x 20.1cm, folio 23.2 x 17.6cm
The format of this portrait was favoured in royal Bundi compositions in this period. An example similar to this one, with the addition of a canopy, was sold at Christies New York, 16th September 2014, lot 309. Another example from this group of portraits of Rao Umed Singh, with the addition of his sons, is in the collection of the Yale University Art Gallery, acc. no. 2001.138.17.
£800-1,200
TWO DRAWINGS OF PRINCELY FIGURES, BIKANER, NORTHERN INDIA, 18TH CENTURY
each in black ink on paper with a depiction of a standing male figure, beturbanned, moustachioed and bedecked in jewellery, sporting billowing robes and a shield, katar and sword, each image variously inscribed with numerous inscriptions in devanagari script, folios 22.5 x 10.6cm and 23 x 13cm, respectively, framed
The inscriptions contain notes by the artist as to the tones to be used in rendering the composition in colour. From inscriptions such as those in the Ain-i-Akbari, probably added by a contemporary librarian, it is clear that a common practice was for a senior artist in a workshop to provide the outline and for a more junior artisan to fill in with colour and gilding following this design. Therefore, the impetus for the inscriptions on these two drawings may well have been to provide instruction for another artist of how to finish the work. The inscriptions denote the different colours, including cobalt, green and red, for the different elements of the clothing of the figures including a suggestion to use textile patterns from region in gold alternating with red. Colours for the background are also given. Above one of the figures is an inscription which might be identifying the subject of the portrait. It has been read as “Sriman Singhji’ though the facial appearance is closer to that of Sujan Singh, who ruled Bikaner from 1700 to 1735 A.D, and is the subject of an equestrian portrait in the Brooklyn Museum, acc. no. 80.75, date 1747. The second portrait bears a strong resemblance to Prince Padam Singh, whose portrait was captured in a painting, attributed to Bhavani Das, of circa 1725 in the Metropolitan Museum, 2019.445.3.
A comparable drawing, considered to be circa 1680, very reminiscent in appearance to one of these drawings in facial appearance, can be found in the collection of the Victoria and Albert Museum, IS284-1952.
£1,000-1,500
A PAGE FROM A POLIER ALBUM, NORTHERN INDIA, FIRST HALF 17TH CENTURY AND LUCKNOW, CIRCA 1775
in opaque colours and gold on paper, comprising a Mughal portrait of a standing courtier wearing diaphanous robes, holding a hawk in one hand and its prey in the other, within a mount decorated with elaborate floral sprays in tones of blue within narrower bands of silver and gilt foliate motifs on a blue ground with ink ruled borders, inscribed with the number ‘4’ to the lower left of the central image, the reverse with a similar border enclosing a calligraphic exercise in refined shikasta script within a cusped border in gold on pale blue paper, the mount with exuberant floral sprays in yellow, red and black within bands of gold foliate motifs reserved on a blue ground edged with ruled borders in black ink, miniature 11.8 x 5.8cm, folio 39.5 x 28.8cm
Provenance: Private English collection, acquired London in the 1980s.
Willam Beckford, after 1802.
Colonel Antoine Polier (d.1795).
Colonel Antoine-Louis-Henri Polier de Bottens (1741-1795), spent thirty years in Indian before his return in 1788. A Swiss engineer, architect and entrepreneur, in his time in India he worked both for the British and Indian rulers. His was empathetic to both cultures and whilst engaging in the promotion of the interests of the East India Company at the court of Lucknow, he began the production of a series of albums, muraqqa, very much in a Mughal tradition. Though the majority of the albums are now in the museums of Berlin, after the sale of Beckford, some were dispersed. The format of each page is of a painting with a page of calligraphy recto, both enclosed within borders typically with a recognisably exuberant decoration. Many of the paintings were commissioned by Polier, often after Mughal originals, from the court artists of Lucknow, notably Mihr Chand with whom Polier had a particularly close working relationship. Occasionally, as with this page, Polier also managed to obtain works from the Mughal workshops from an earlier period.
The Miniature
The reminiscence of the figure to portraits of the Emperor Jahangir may come to mind but other figures from the Mughal court also bear a strong similarity. A depiction of Mirza Muzaffar, circa 1610-20, a grandson of Shah Ismail of Persia and governor of Qandahar, has a similar looking figure with diaphanous dress and holding a falcon. It is housed in an album of Mughal portraits in the Royal Collection, RCIN 1005038.s. Another portrait, this time of Khan ‘Alam, Jahangir’s falconer and his ambassador to Iran, takes a similar stance though in different dress, but with the sparrow hawk and a smaller bird, the hawk’s prey, in his left hand (Harvard Art Museums, object number 1999.293). These various similarities prevent, at this point, a firm identification of the subject. The use of the purplish ground colour is less common on portraits of this period as is the inclusion of floral motifs in gold dispersed around the background. Parallels do exits though such as around the figure of Inayat Khan, circa 1610, formerly in the collection of Tom Maschler and sold at Christie’s, New York, 19th June 2019, lot 325.
The Calligraphy
The distinctive form of shikasta can be attributed to Mir Muhammad Husayn ‘Ata Khan, who specifically provided examples of calligraphy for Polier’s albums (Kwiatkowski 2025, p.287). ‘Ata Khan was the son of Muhammad Baqir, who was a tughra-navis, or writer of the calligraphic signatures of rulers. ‘Ata Khan had mastery of a number of different forms of script including both Persian and Indian forms of shikasta. There is some suggestion that ‘Ata Khan’s grandfather had established a role in dealing with the British and this may have paved the way for ‘Ata Khan’s familiarity with English and British customs leading to his appointment in the court of Shuja’ al-Dawla. This, in turn, is thought to have led to his introduction to Polier after the latter was sent to Awadh by Warren Hastings in 1773. Within a brief period, a mutual trust seems to have been built and ‘Ata Khan quickly came to work for Polier, though by 1775 this employment came to an end following court intrigues. It is to this period that the calligraphic exercise on this page is most likely to date from.
The Iconography
As Kwiatkowski indicates (ibid., p.298), although there may have been no didactic purpose in the production of the albums of Polier, there were clearly allusions of which a contemporary audience would have been aware. One of those, relevant to this page, is that of viziership, service and loyalty to a ruler with the depiction of a falcon. An established euphemism for a vizier was that of ‘royal falcon’ (shah-baz). A number of references to this occur in texts within Polier’s album including a legend taken from the Anvar-I Suhayli, in which a royal falcon meets its death at the hands of the King despite its attempts to protect him. This was probably copied by ‘Ata Khan and between him and Polier there is the suggestion that they shared a sense of service of being in a class of court attendants whose sage advice was not always valued by their rulers. In this context, it is more encouraging to see the identity of the subject as the Emperor. It is interesting that both British and Indian ministers and officials might have seen a common fate shared between them.
Border
Although the border immediately suggests an origin from a Polier Album, it is worth noting that across the albums ‘none of the marginal designs are perfectly identical to one another’ (Imbert 2025, 3.1.2, ill.9.7). However, closely related groups can be formed and amongst these, those employing a form of bouquet, can be found in at least five albums. Though well used in the albums, this bouquet motif may not have its origins in Mughal tradition but might, as is suggested elsewhere, have be derived from designs taken from European ceramics. Polier was himself energetically engaged in the trade of European goods.
£3,000-5,000
A DEPICTION OF A LADY HOLDING A MAN’S SEVERED HEAD, MUGHAL, INDIA, 18TH CENTURY
in opaque colour and gold on paper, the tranquil figure holding the head in one hand and a bloodied sword in the other, a wooded copse to one side before a moonlit sky, ruled margins on a red border, image 20.1 x 14cm, framed
£400-600
AN ILLUSTRATION FROM A RAGAMALA: TODI RAGINI, JAIPUR, NORTHERN INDIA, 19TH CENTURY
in colour and gold on paper, the seated female figure holding a musical instrument plays before a herd of deer on a rocky outcrop within a lotus garlanded lake, a balustraded pavilion in the distance, 16.5 x 11.7cm, framed
The Ragamala, or garland of melodies, is a cycle of musical modes represented in paintings. Todi Ragini represents the tender emotion of a woman pining for her absent lover.
£400-600
A DEPICTION OF A PRINCESS SEATED ON A TERRACE, HYDERABAD, CENTRAL INDIA, CIRCA 1830
opaque colour, ink and gold on paper, image 14.6 x 22cm, folio 23 x 15.5cm
Provenance: Bonhams, 25th October 2007, lot 356.
Probably a depiction of Khamaj Ragini. generally a romantic, even flirtatious, raga. Stylistically, the painting belongs firmly to that of the Hyderabadi court in the reign of Nawab Sikander Jah (r.1803-1829).
£1,000-1,500
A DEPICTION OF SIXTEEN COURTLY FIGURES, MANDI, CIRCA 1780-90
opaque colour and gold on paper, the composition comprising eight male and eight female figures, each seated on a carpet, arranged in a silver grid of sixteen equal rectangles, a broad red border, framed, image 21.9 x 15.4cm
A comparable scene of courtly figures in arcades, with the addition of the figure of Raja Surma Sen (r.1781-88) was offered at Bonhams, 15th April 2010, lot 400.
£800-1,200 25
A PORTRAIT OF RAJA PRATAP SINGH OF JAIPUR, RAJASTHAN, INDIA, 19TH CENTURY
in opaque colour, gold and ink on paper, the enthroned ruler flanked by attendant courtiers on a carpeted terrace, flowers and forests in the distance beneath a cloudy sky, framed, 21 x 31.2cm
Raja Pratap Singh (reigned 1779-1803), the son of Madho Rao, ascended to the throne at just fourteen years old and appears as a somewhat youthful figure in this depiction. He was an enthusiastic patron of the arts and architecture maintaining a large atelier of court artists. A number of portraits of him remain though more often as a single figure such as an example in the collection of the Victoria and Albert Museum, IS151-1952. Another portrait of him in that collection, in the form of a preparatory drawing, sees him wearing very closely a turban and jewellery very closely related that depicted in the present portrait, see 1914-3008M.
£2,000-3,000
28
A DEPICTION OF A SEATED LADY PERFORMING PUJA, JAIPUR, RAJASTHAN, CIRCA 1800
in ink, colour and gold on paper, the figure clasping a peacock feather fan in her left hand, a ritual vessel in the other, further vessels laid out before her, with an abstracted landscape beyond, ruled margins, the image 14.5 x 9.8cm, framed
£700-900
29
EIGHT NOBLEMEN RECEIVING INSTRUCTION FROM VALLABHACHARYA, NATHDWARA, INDIA, 19TH CENTURY
The saintly figure seated beneath a tree cross-legged on a mat, a radiating aureole in gold around his head, before him are the eight nobles dressed in orange and saffron robes, seated on rugs with prayer beads held in one hand, their status denoted by a halo in gold and identifying inscriptions above, a lotus covered pool in the foreground, the image 29.5 x 21.2cm, framed Vallabhacharya (1478-1530 CE) was a Indian saint and philosopher, living in Northern India, who founded Pustimarga, a Hindu sect of Krishna centred Vaishnavism.
A similar composition was sold at Bonhams, New York, 11th September 2012, lot 121.
£800-1,200
A SCHEMATISED DEPICTION OF A JAIN COSMIC MAN, 19TH CENTURY, PROBABLY GUJARAT, WESTERN INDIA
in ink and colour on paper, the central representation flanked by further motifs of Jain cosmology and thirtankaras, 53 x 48.5cm, framed
£1,200-1,500
31
A REPRESENTATION OF JAIN COSMOLOGY, 19TH CENTURY, PROBABLY GUJARAT, WESTERN INDIA
in colour and black ink on paper, in the form of a representation of Mount Meru, occupied by devotees, beasts and schematised religious motifs, the image
55 x 48cm, framed
£1,000-1,500 30
32
A TANTRIC DURGA YANTRA, PROBABLY RAJASTHAN, NORTH INDIA, 19TH CENTURY
in colour on paper, the geometric form enclosing a depiction of a fourteen-armed Durga with a radiating aureole in gold, a blue-bodied demon lying vanquished beneath within a stylised landscape, black, red and yellow ruled borders, image 27.2 x 20.8cm framed
£800-1,200
33
A THANJAVUR PAINTING DEPICTING THE CORONATION OF RAMA (RAMAPATTABISHEKA), SOUTH INDIA, CIRCA 1900
gouache and gilt gesso, framed, 49 x 38cm
The Coronation of Rama is one of the most popular subjects in South Indian painting. The hero of the Ramayana is depicted with his consort Sita under a parasol held by his brother Lakshmana, while Hanuman crouches in front. The group is surrounded by crowds of devotees and the monkey soldiers. For a reverse glass painting from Thanjavur of the same subject, see Anna L. Dallapiccola, Reverse Glass Painting in India, New Delhi 2017, no.1.24.
£400-600
34
A DEPICTION OF THE CHILD KRISHNA LYING ON A BANYAN LEAF, TAMIL NADU, CIRCA 1830
in opaque colours on paper, the child god is depicted naked wearing only jewelled adornments and a sash sucking his toe, framed, image 21 x 16.3cm
Provenance: Acquired by the vendor, Maggs Bros, Oriental Bulletin No 15, April 1969, No 177, where the painting was attributed to Trichy, circa 1832-35, suggesting that more specific provenance information had been given to the sellers. This depiction of Vatapattrashayi, the infant Krishna lying on a banyan leaf, would have formed part of a large album of depictions of Hindu deities. These albums had become a popular acquisition for European visitors who came in increasing numbers to South India from the end of the 18th century. Tanjore, in particular, is associated with the production of this form of painting, though other towns also practiced their own iterations of this style. A number of examples of these albums, which include related Vatapattrashayi compositions, can be found in the collections of the British Museum, see 1992, 0410, 0.1.45, and 1993, 0806,0.1-82.
£300-400
A SCENE FROM THE RAMAYANA, WESTERN INDIA, GUJARAT, MID-18TH CENTURY
in opaque colours on paper, depicting a scene of Krishna visiting a holy man at a riverside temple, a fortified palace to one side, image 11.1 x 27.9cm
Provenance: Acquired by the vendor, Sotheby’s, 20th April 1970. Lot 163
£700-900
A LARGE THANJAVUR PAINTING OF THE CORONATION OF RAMA (RAMAPATTABISHEKA)
SOUTH INDIA, CIRCA 1900
gouache with gilt gesso on paper, original painted frame, 75 x 59cm
See footnote to lot 33.
£1,500-2,000
37 (detail)
AN ELABORATELY PAINTED WOOD PANEL, PROBABLY BIKANER, RAJASTHAN,
INDIA, CIRCA 1750-70
comprising two lengths of joined wood richly decorated in opaque colour on a black ground with borders of in gold, the scenes of various deities including Hanuman, Krishna, Ganesha and Siva with attendant figures, a devotee supplicant before a temple at one end, approx. 17.3 x 199cm
Provenance: Acquired by the vendor Christie’s 10 July 1975 Lot 53 (illustrated)
This extremely rare example of architectural decoration relates closely to friezes, noted by Captain John Theophilus Boileau, in the Phul Mahal and the closed gallery added in the reign of Maharaj Gaj Singh of Bikaner (r. 1745-1787). Related examples are still in place above the doors of the main entrance to the Phul Mahal.
£3,000-4,000
A PORTRAIT OF MAHARAJAH UDIT NARAYAN SINGH (R.1795-1835), BENARES, INDIA, 19TH CENTURY
in opaque colours on ivory, the seated figure resting on a bolster, wearing elaborated bejewelled headgear and accessories, 12.3 x 9.5cm, framed
This depiction appears to be copied from a lithograph by J. H. Lynch and published by M. and N. Hanhart, issued in 1829, to celebrate his 48th birthday. Another image of Maharajah Udit Narayan Singh on ivory is in the collection of the Victoria and Albert Museum, IS32-1985.
Ivory Submission: 8KXP5UB
£400-600
A DEPICTION OF A FAKIR (BENAVA), LUCKNOW, INDIA, CIRCA 1815-20
delicately painted in colour on paper, image 19.5 x 15.5cm
This refined painting style typifies that employed in paintings produced in Lucknow in the early 19th century. This example was produced by a local artist to be housed in an album. It was intended for purchase by a European visitor as a record of the many types, trades and religious figures of the region. Such an album, enclosing fifty three depictions, is in the collection of the Victoria and Albert Museum, London, AL7970:28. The subject of this painting can be identified as a muslim fakir of the Benava sect from an image included in the The Tashrih al-aqvam, a manuscript compiled anonymously of the ‘origins and occupations of some of the sects, castes and tribes of india’ in Hansi in 1825. Now in the British Library, BL3306902, it includes a depiction of a muslim fakir of the Benava sect adopting a similar mode of dress and carrying some of the same accoutrements, including a cage bird beneath a cloth and staff.
£800-1,200
A MINIATURE PAINTING OF A LARGE TROUPE OF ACROBATS, NORTH INDIA, 19TH CENTURY
a central group of figures performing a balancing act topped by a woman firing a rifle, within a border of symmetrical floral motifs, flanked by musicians, framed, image 18.4 x 11.4cm
A comparable composition appears in a miniature attributed to Lucknow, circa 1810, in the Brooklyn Museum, 84.201.8.
£1,000-1,500
A GROUP OF TWENTY FIGURE STUDIES ON MICA, TRICHINOPOLY, SOUTH INDIA, SECOND HALF 19TH CENTURY
20 Trichy paintings on mica, depicting South Indian characters, framed in five groups of four, each image 10.4 x 6.5cm (5)
£400-600
SIX PAINTINGS OF FIGURES AND SCENES, TRICHINOPOLY, SOUTH INDIA, SECOND HALF 19TH CENTURY
in opaque colours on mica, variously depicting trades, practices and temples of South India, framed in three pairs, each image 13.7 x 10.1cm (3)
£200-300
43
DARTNELL, GEORGE RUSSELL (1799/1800-1878), THREE WATERCOLOURS OF INDIAN VIEWS, INDIA, CIRCA 1825-30
each mounted on an album page inscribed and signed in the artist’s hand in ink, ‘A Ghaut on the Hooghly’, framed, folio 14.1 x 18.2cm (3)
George Dartnell was a military doctor and keen amateur artist who travelled widely with his work. He painted regularly throughout his life compiling sketchbooks of watercolours depicting his travels many of which are now in the collection of the British Museum. His views of India, Sri Lanka, Mauritius and Canada are amongst the most celebrated of his works.
£400-600
44
BAILLIE, WILLIAM (1752/3-1799), THREE PRINTS FROM ‘VIEWS OF CALCUTTA’, CALCUTTA, 1794
three from a series of twelve etched and engraved plates, all coloured by a contemporary hand, framed, each image 27.2 x 37.8cm (3)
William Baillie, born in either 1752 or 1753, went to India in 1777. He arrived as a cadet in the Bengal Infantry, transferring to the Engineers in 1778. In 1786, in addition to his military career, he started a weekly newspaper called the Calcutta Chronicle. In 1788 he resigned from his commission in the army with the intention of becoming an artist though by 1792 he needed to accept the position of secretary of the Free School Society in Calcutta. During this period Baillie developed the idea to produce and publish a series of views of Calcutta disclosing this plan to the artist Ozias Humphry in 1793. Though many of his proposed projects failed to come to anything, Baillie succeeded in having this series published in 1794. A complete series was sold at Christies from the library of Norman Bobins, 13th July 2023, lot 140. Their appearance at auction remains rare.
£800-1,200
AN ENGLISH PRIVATE COLLECTION OF GREEK AND ROMAN ANQUITIES
LOTS 45-77
45
A ROMAN BLUE GLASS SPHERICAL BODIED CINERARY URN, CIRCA 2ND-3RD CENTURY A.D.
with two applied strap handles, everted rim wheel-cut banding around the circumference, 23cm high
Provenance: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, lot 19 illus.
£1,200-1,800
46
TWO GREEK GUTTI, CIRCA 4TH CENTURY B.C.
one red-figure painted with a reclining nude youth holding a mirror towards a draped seated female holding a casket, a rosette between, a palmette flanking the handle, details in added cream, with lion head spout, 6.8cm high including handle, 11cm diam; the other with reserved body, details in black, a band of strokes at the shoulder, ovolo decoration above and surrounding the central perforation, with lion head spout, 6cm high including handle, 11cm diam. (2)
Provenance: Christie’s London, Antiquities, 6 May 1982, lot 210 (illus., the red-figure guttus is attributed to the Darius Painters’ Workshop). The guttus was a pouring vessel, so called, because the contents were poured from the narrow openings in drops (guttae).
£2,000-4,000
47
FOUR ROMAN PALE GREEN GLASS VESSELS, CIRCA 1ST-4TH CENTURY A.D.
including a cylindrical bodied jug, with collar rim and ribbed strap handle, 12.8cm high; a bottle with squat bulbous body and flaring funnel neck, applied trailing around the mid-neck and shoulder, on a ring base, 11.6cm high, and two beakers, including one with a waisted cylindrical body, set on a raised pad base with a band of trail around the neck, 10cm high and another beaker with straight sides, set on a pad base, with thickened rim, 7cm high (4)
Provenance: (bottle): Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 397 (illus).
£700-1,000 48
THREE ROMAN GLASS VESSELS, CIRCA 2ND-4TH CENTURY A.D.
comprising a bottle with conical body, cylindrical neck and heavily iridescent surface, 12.8cm high, a small iridescent purple glass bottle with broad shoulder and bulbous body, 6.8cm high, and a green glass double balsamarium, the conjoined bodies with looped handle, 14.8cm high (3)
Provenance: Christie’s London, Antiquities, 6 May 1982, lot 14 (one illus) and lot 35 (illus).
£700-1,000
SIX ROMAN GLASS VESSELS, CIRCA 1ST-4TH CENTURY A.D.
comprising a feeder flask in the form of a stylised bird, the oval body with short pointed spout, the cylindrical neck with tubular rim, 8.6cm high; a cylindrical inkwell with broad disc rim, 6.1cm high; a cylindrical vessel with short neck and disc rim, 9.1cm high, an old ink inscribed label on the underside of the base ‘Jerusalem’; a small beaker with flared rim, a band of trail around the neck, set on a pad base, 6.9cm high; a tall slender balsamarium with everted rim, spiral trailing around the neck and lower body, a single applied handle, 8.9cm high and a small bottle with bulbous body and four applied blue glass blobs, on a folded ring base, 5.9cm high (6)
Provenance: Flask: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 414 (part)
Balsamarium: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 8 (part).
Small bottle: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 443 (illus).
£700-1,000
SIX CYPRIOT POTTERY VESSELS, IRON AGE, CIRCA 1000-650 B.C.
comprising a Bichrome Ware stamnos with sloping shoulder and two vestigial lug handles, the body decorated with bands of varying width and three concentric circles between the handles on both sides of the body, 12.7cm high; a Black-on-Red Ware amphoriskos with encircling band decoration and concentric circles around the shoulder and neck, parallel bands decorate the rim, 10.7cm high; a Black-on-Red Ware bowl with tapering body and two horizontal handles, the interior decorated with concentric bands of varying width, the exterior with concentric circles, 15.4cm diam, 6.7cm high, ink inscribed ‘77372’ on the underside of the base; two miniature Black-on-Red Ware flasks, one with ovoid body, the shoulder decorated with three swastikas, encircling bands around the central body, stripes on the handle, the other with spherical body and concentric circles at the shoulder, both 5.4cm high and a miniature Bichrome Ware barrel flask with umber banded decoration, 8.4cm high (6)
Provenance: White barrel flask: Christie’s London, Antiquities, 6 May 1982, lot 196.
Black-on-Red Ware bowl with concentric bands: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 172 (part).
Others acquired from Sotheby’s and Christie’s auctions prior to 1982.
£1,200-1,500
51
A ROMAN PALE BLUE GLASS BEAKER, CIRCA 2ND-3RD CENTURY A.D.
of ovoid form with flaring rim, set on an inward-folded ring base, with faint wheel-cut banding around the body, 9.6cm high, together with A Heavy Beaker, of ovoid form with wheel-cut banding around the rim and lower body, 9.2cm high (2)
Provenance (first beaker): Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 12 (part).
£700-1,000
52
A ROMAN GLASS PHIAL, CIRCA 1ST CENTURY A.D.
with applied opaque white spiral trailing, 13.5cm high
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 506 (illus).
£400-600
TWO LATE ROMAN GLASS JARS, 4TH-6TH CENTURY A.D.
one with globular body and broad cylindrical neck with applied turquoise spiral trailing and trailed festoons around the lower body, 15.2cm high, and a pale green glass jar, the body mould-blown and twisted to form spiral tightening towards the neck and rim, a thickly applied collar trailed to the upper neck, a sharply pointed indent at the base, 8.3cm high (2)
Provenance: Trailed jar: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 497 (illus).
Twisted jar: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 12 (part)
£1,200-1,500
54
A ROMAN MOSS GREEN GLASS OVAL DISH, CIRCA 4TH-5TH CENTURY A.D.
with broad tubular rim, set on a raised ring base, 22cm max width
Provenance: Acquired in London circa 1980-1982.
£600-800
55
A ROMAN GREEN GLASS SHALLOW DISH, CIRCA 2ND CENTURY A.D.
with central omphalos, applied ribbon handles and slightly sloping walls, on a tubular ring base, 20.4cm diam.
Provenance: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, lot 11.
£600-800
A GROUP OF ROMAN AND CYPRIOT TERRACOTTA OBJECTS
comprising a Red Lustrous Wheel-made Ware spindle flask, Cyprus, circa 1550-1050 B.C. 37.7cm high; a Roman Pottery Unguentarium, with conical body and cylindrical neck, circa 1st Century B.C. / A.D., 15.4cm high and Four Roman Pottery Oil Lamps, one in the form of a comic actor’s mask, 6.6cm long; another moulded with the goddess Fortuna holding a cornucopia and a ship’s rudder, a wreath encircling, 8cm long; another with a vine wreath and grape clusters moulded on the shoulder, an amphora above the nozzle flanked by volutes, 9.6cm long, ink inscribed with the number 10 on the underside, the fourth a Byzantine lamp, the shoulder decorated with medallions containing birds, 9.7cm long, circa 1st-6th Century A.D. (6)
Provenance: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 172 (part, spindle flask) and 126 (part).
Ex Collection of Mr W. A. Stewart, Director of School of Arts and Crafts, Cairo, 1919-1929. Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 126 (part, oil lamps).
For a closely related spindle flask in the British Museum, see 1876,0909.51
£1,000-1,500
57
TWO ROMAN AMBER GLASS VESSELS, CIRCA 3RD-4TH CENTURY A.D.
comprising a deep bowl on a raised tooled pedestal base, with up-turned rim, possibly Karanis type, Egypt, 11.3cm diam, 5.6cm high, and a double balsamarium with looped handle, 16.4cm high and a green glass stirring rod surmounted by a dolphin in amber glass, 9.4cm high (3)
Provenance: Ex German private collection.
Sotheby’s London, 13th and 14th July 1981, lots 425 & 482 (illus).
£1,000-1,500
58
TWO ROMAN COLOURLESS GLASS JARS, CIRCA 4TH CENTURY A.D.
the globular bodies with shallow depressions and trailed decoration, one with turquoise trail, 7.5cm and 7cm high (2)
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 494 (illus).
£800-1,200
59
FIVE PALE BLUE AND GREEN GLASS VESSELS, CIRCA 2ND-4TH CENTURY A.D.
including a vessel with bulbous body, mould-blown with vertical ribbing, the tall cylindrical neck with funnel mouth, 11cm high, an old label on the underside of the base ink inscribed ‘Roman glass from Cyprus 50 BC to AD 400’; a bottle with bulbous body, cylindrical everted rim and deeply indented base, 10.4cm high; two bottles with conical body, cylindrical neck and folded rim, 9.7cm high and 8.6cm high and an unguentarium with tall cylindrical neck and everted rim, 9.5cm high (5)
Provenance: With funnel rim: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 7 (part).
Others: possibly from lots 4 & 6 in the same auction
£500-700
60
THREE ROMAN GLASS VESSELS, CIRCA 1ST-4TH CENTURY A.D.
comprising a green glass bottle with squat spherical body, cylindrical neck and applied spiral trailing, 8.6cm high, and two small beakers, one in dark green with applied blue glass blobs, an incised band around the middle, 6.5cm high, and a beaker of clear glass, 6.5cm high (3)
Provenance: Bottle: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 442 (illus).
Beakers: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 6 (part)
£600-800
61
A MISCELLANEOUS GROUP OF ROMAN GLASS OBJECTS, 1ST-4TH CENTURY A.D.
including a green sprinkler flask with funnel neck and pinched ribs on the spherical body, set on a base composed of pinched projections, 10.5cm high; a bowl with everted rim, 5.1cm high; a bottle with squat bulbous body and short funnel neck, 7.1cm high; two small jars, 6cm max height; a small fragmentary jar with vertical ribs on the bulbous body, 6.5cm high; a group of glass unguentaria in pale blue, green and cobalt blue, 9.7cm max height, some fragmentary; a green glass stopper with bulbous top, 5.9cm high, and three later vessels, including two small vessels with squashed disc-shaped bodies, 4.4 max height (a lot)
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 416 (part, stopper).
The remainder acquired by the vendor in London, circa 1980-1982
£300-500
62
A COLLECTION OF MOSTLY ISLAMIC GLASS AND POTTERY VESSELS AND FRAGMENTS, 4TH-14TH CENTURIES
comprising a Roman olive green glass flask, five early Islamic glass phials and a stopper and blue glass flask neck fragment, three Kashan monochrome glazed oil lamps, six Mamluk painted and gilded glass fragments, and a Byzantine pottery fire grenade, 13cm high (glass flask, and smaller) (18)
Provenance: Acquired by the vendor in London, circa 1980-1982.
£200-400
63
THREE BYZANTINE BRONZE SPOONS, EASTERN MEDITERRANEAN, 6TH-9TH CENTURY A.D.
each with oval bowl, one with bevelled and engraved handle, another with embossed stamp, 17.5cm and smaller
Provenance: Acquired by the vendor in London, circa 1980-1982.
£200-300
64
AN ATTIC SAINT VALENTIN CLASS RED-FIGURE KANTHAROS, CIRCA 450 B.C.
each side with a decorative panel, one side with a chequerboard design above palmettes in added white and a wave pattern below, the other side with three layers of leaves, flanked by three columns of vertical Vs, the central row in added white, above a band of meander, a block pattern below the rim on both sides, 11.7cm high
Provenance: Christie’s London, Antiquities, 6 May 1982, lot 205 (illus).
£500-700
65
A
MINIATURE APULIAN RED-FIGURE BELL
CRATER, CIRCA 4TH CENTURY B.C.
decorated on one side with the profile head of a lady of fashion, a palmette on the other side, 11cm high
Provenance: Christie’s London, Antiquities, 6 May 1982, lot 179.
£300-500
66
A ROMAN PALE GREEN GLASS SPRINKLER FLASK, CIRCA 3RD-4TH CENTURY A.D.
with everted mouth and tubular rim, five pronounced vertical ribs on the spherical body, 13.8cm high
Provenance: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, lot 14.
£600-800
67
A ROMAN GREEN GLASS SPRINKLER FLASK, CIRCA 3RD/4TH CENTURY A.D.
the spherical body mould blown with spiral ribbing, the cylindrical neck with everted mouth and tubular rim, 11cm high
Provenance: Christie’s London, Antiquities, 6 May 1982, lot 38 (illus).
£600-800
A ROMAN PURPLE GLASS SPRINKER FLASK, CIRCA 3RD/4TH CENTURY A.D.
with spherical body, the cylindrical neck and everted mouth with tubular rim, pinched projections on the surface, 7.9cm high
Provenance: Sotheby’s London, Antiquities, 14th July 1981, lot 445
£700-1,000
TWO ROMAN DARK GREEN GLASS UNGUENTARIA, CIRCA 2ND CENTURY A.D.
both of sturdy construction with flared body, slender neck and everted rim, 13.5cm high and 12.2cm high (2)
Provenance: Acquired by the vendor in London, circa 1980-1982.
£400-600
70
A LATE ROMAN OR
BYZANTINE
COLOURLESS GLASS VESSEL, 4TH-6TH CENTURY A.D.
probably a lamp, of tapering conical form, with trailed decoration around the rounded base and sloping shoulder, two tiny applied loop handles at the shoulder, 11.1cm high
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 412 (illus).
£400-500
71
TWO ROMAN GREEN GLASS DOUBLE BALSAMARIA, CIRCA 4TH CENTURY A.D.
one with two applied strap handles, 10.8cm high, wood base with an old collection label, ‘Cyprus HF’, and another example with applied trailed decoration, 9.7cm high. (2)
Provenance: H. Fawcett Collection; Christie’s London, Antiquities, 6 May 1982, lot 2 (part, first vessel).
£600-800
72
A ROMAN PALE GREEN GLASS JAR, CIRCA 2ND-4TH CENTURY A.D.
the squat spherical body with vertical ribs, the funnel neck broadening towards the rim, 13.4cm high
Provenance: Acquired by the vendor in London, circa 1980-1982.
£400-600
73
THREE ROMAN PALE GLASS VESSELS, CIRCA 2ND-4TH CENTURY A.D.
comprising two bottles, one with squat bulbous body and funnel neck, 10cm high, another with spherical body and funnel neck, incised banding on the body, 10cm high, and a small bowl with straight sides, 3.3cm high, 7.5cm wide (3)
Provenance: 1st bottle: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 414 (part).
Spiral jar: Christie’s London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, 12 (part)
£400-600
74
A ROMAN PALE GREEN ELONGATED GLASS FLASK, CIRCA 3RD-4TH CENTURY A.D.
mould-blown with vertical striations with everted rim and two applied handles, trailing applied to the mid neck at handle level and below the rim, 21.6cm high
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 531 (illus).
£300-500
75
THREE ROMAN CYLINDRICAL GLASS VESSELS, CIRCA 3RD-4TH CENTURY A.D.
two with tubular rim, one with disc rim, 13.1cm maximum, 9.5cm minimum (3)
Provenance: Acquired by the vendor in London, circa 1980-1982.
£300-500
77
TWO ROMAN GLASS VESSELS, CIRCA 2ND-3RD CENTURY A.D.
comprising an octagonal bottle with concave sides, the ribs continuing to the underside of the base, 9cm high and a miniature square-side vessel with applied handle, 6cm high, together with an Islamic Fluted Vessel, circa 10th-12th Century A.D., with funnel neck containing a bronze rod, 9.5cm (3)
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 418 (part lot, trailed jar)
£300-400
76
A ROMAN MANGANESE PURPLE GLASS BEAKER, CIRCA 1ST CENTURY A.D.
with everted rim and pronounced indent at the base, faint wheel-cut bands around the middle, 6.9cm high
Provenance: Ex German private collection; Sotheby’s London, 13th and 14th July 1981, lot 498 (illus).
£500-700
VARIOUS PROPERTIES
A GREEN GLAZED POTTERY LAMP, PARTHIAN OR LATER
of cylindrical form, the sides pierced with triangular openings, five candle holders at the top, 27cm high Provenance: Private collection, England. Acquired by the vendor’s father in London in the 1970s-1980s. For a similar object found in Nippur, Iraq, during the Babylonian Expedition of 1890, now in Penn Museum, see inv. no. B2308 £800-1,200
AN ATTIC BLACK FIGURE AMPHORA, MAINLAND GREECE, CIRCA 540-520 B.C.
painted terracotta with touches of red and white with sgraffito detailing, the shoulder with twin handles, side A depicting five helmeted hoplites in battle, wearing greaves, three with shields, two with drawn swords, side B with panel depicting a gigantomachy with charioteer in profile on the left, figures of Athena and other helmeted gods in combat with giants on the far right, a fallen combatant underneath the rearing horses, a frieze of lotus flowers along the top on each side, and a band of pointed leaves above the flared base (repainted, especially side B: see full condition report available on request), 45.7cm
Provenance: Private collection, London. Acquired Sotheby’s London, 12 June 1967, lot 138 (Offered Sotheby’s London, 8 December 1994). Andre Emmerich Gallery, New York (22 April-20 May.1964), Münzen und Medaillen A.G., Basel (prior to 1964).
Published online: Vase no. 11559, Classical Art Research Centre/Beazley Archive
At the 1967 auction, this amphora was attributed as ‘near to the ‘Swing Painter’. For three other amphorae attributed to the ‘Swing Painter’ in the British Museum, see inv. nos. 1843,1103.57 & 64; 1837,0609.65. For another, recently sold at auction, see Sotheby’s London, 7 December 2021, lot 51.
£20,000-30,000
80
A ROMAN MARBLE RELIEF FRAGMENT DEPICTING A DANCING SATYR, 2ND/3RD CENTURY A.D.
the nude male figure wearing a lion skin, his waving tail hanging below, mounted, 40cm high Provenance: Private collection, London. Inherited by the vendor from her step-father, the late Basil Sherman, who is thought to have acquired it around 2002.
£5,000-8,000
81
A BAMIYAN TURQUOISE GLAZED POTTERY
BOWL, PROBABLY AFGHANISTAN, CIRCA 1200
the interior carved in low relief with two lions pursuing each other, the rim with splashed manganese dots, on small flared rim foot, 9.5 x 18.5cm
£600-800
82
A KASHAN TURQUOISE GLAZED EWER, PERSIA, 12TH/13TH CENTURY
of cylindrical form, with faceted body, on flared rim foot, the slender neck with projecting spout and strap handle, 17.5cm
£300-400
83
A SMALL ABBASID BOWL, MESOPOTAMIA, 9TH CENTURY
the well painted with an abstract design of grid and dots, the everted rim with a lobed border in alternating brown and yellow, 4cm high; 13cm diam.
£300-400
84
FOUR KASHAN TURQUOISE GLAZED VESSELS, PERSIA, 13TH CENTURY
comprising a small bowl with underglaze sgraffito floral decoration, a dish with black painted flower at the centre, surrounded by low relief fluted sides and radiating black twin line motifs running to the rim, and two oil lamps, with pinched spout, loop handle and walled tray, 19cm diam. (dish), and smaller
£300-500
85
A NISHAPUR POTTERY BOWL, PERSIA, 10TH CENTURY
underglaze slip painted, the interior with bold kufic script in russet brown on one side and a short band of script in dark brown on the other side, on cream coloured ground, 8cm high; 24cm diam.
£2,000-3,000
86
A SAMANID POTTERY DISH, CENTRAL ASIA, 10TH CENTURY
of shallow form, the cream ground painted with single dot in the centre, the lip with repeated phrase, probably al-janna (paradise), in kufic script, 5cm high; 27cm diam.
£1,500-2,000
87
A NISHAPUR SLIP PAINTED DISH, PERSIA, 10TH CENTURY
earthenware with a line of reserved kufic on hatched ground within a roundel with inward scrolls, the underside with vestiges of tripod legs, 4cm high; 17cm diam.
£600-800
88
A MINA’I POTTERY BOWL, PERSIA, 12TH/13TH CENTURY
overglaze painted fritware, of conical form, on high rim foot, the interior painted in gold, red and black, decorated with a bird at the centre, surrounded by a band of ropetwist design, the sides with a series of drop shaped medallions, a border of calligraphy comprising repeated incantations of ‘Allah’ around the rim, the exterior with black painted radiating petal design, 10cm high; 20cm diam.
£1,200-1,500
A KHORASAN SILVER INLAID BRONZE INKWELL, CIRCA 13TH CENTURY
of cylindrical form with three hinged suspension loops on the sides (one missing), the domed lid with bun finial, and three loops, the sides decorated with interlaced star design containing figures, animals and leafy arabesques, the lid and underside with bands of calligraphy, 12.5cm high
For an inkwell of similar form, see Melikian 1982, no.51, p.123
£800-1,200
90
A KHORASAN SILVER INLAID BRASS BOX, CIRCA 13TH CENTURY
of faceted cylindrical form, with hinged convex lid and twin suspension loops, the sides with interlaced star-shaped medallions containing figural scenes amidst scrolling arabesques, 8.5cm high; 10cm diam.
£600-900 89
TWO CARVED WOODEN CORBELS, SPAIN OR NORTH AFRICA, CIRCA 14TH CENTURY
of angled form, carved on each side with part of a calligraphic roundel near the wall attachment, and stylised leafy scrolls on the outer sides, mounted on stands, 28 x 59 x 11.5cm
For a group of very closely related corbels from Toledo in the Aga Khan Museum, see AKM 719-720. There are a further two frieze panels from Toledo with similar carved decoration in the Victoria and Albert Museum, see Rosser Owen 2010, fig.72, p.81
£4,000-6,000
TWO MARINID MARBLE ARCHITECTURAL ELEMENTS, MOROCCO, CIRCA 14TH CENTURY
each carved in relief with interwoven leafy arabesques on two sides, a third side dressed with framing moulded and deep circular recess, mounted, 27.5 x 17.5 x 22.6cm approx. each
Provenance: Bonhams London, 7 October 2014, lot 37
£3,000-5,000
93
A MAMLUK ENGRAVED BRASS BASIN, EGYPT OR SYRIA, 14TH CENTURY
the sides engraved with a band of calligraphy amidst arabesques, punctuated by roundels, a border of leaf designs below, 12.5cm high; 27.5cm max. diam.
’The noble officer, the high, the lordly, the great emir, the learned, the just, the holy warrior, the champion of the faith, the defender, the protector of frontiers, the assisted (by God), the affiliated with al-Malik al-Nasir’
£2,000-3,000
AN ENGRAVED BRASS EWER, PROBABLY DECCAN, SOUTHERN INDIA, CIRCA 1500
in the form of a lota, with bulbous body, cylindrical neck and everted rim, the body and neck densely engraved with interlaced arabesques on hatched ground in four horizontal bands, the neck and middle body bands including calligraphic cartouches, triple hole on one side for missing spout, traces of tinning, 14.5cm high; 17cm diam.
Inscriptions: (i) Around the neck: ‘Izz li-mawlana al-sultan a[l-malik al-kamil] al-ghazi al-mujahid sayf al-dunya wa’l-din sha‘ban ‘azza nasruhu (‘Glory to our lord, the sultan, al-Malik a[l-Kamil], the holy warrior, the champion of the faith, Sayf al-Dunya wa’l-Din Sha’ban, may his victory be glorious.’); (ii) Around the body: ‘Izz li-mawlana al-sultan al-malik… al-[k]amil al-‘alim al-‘amil … al-ghazi al-mujahid sayf al-dunya wa’l-din sha‘ban ‘azza nasruhu (‘Glory to our lord, the sultan, al-Malik… al-[K]amil, the learned, the diligent … the holy warrior, the champion of the faith, Sayf al-Dunya wa’l-Din Sha’ban, may his victory be glorious.’). The inscriptions appear to be copied from a piece made for the Mamluk sultan al-Kamil Sha’ban.
For vessels of similar form in the Victoria and Albert Museum, see Melikian 1984, nos.113, 114 & 116, p.255-259.
£3,000-5,000
95
AN OTTOMAN PARCEL GILT SILVER PENCASE (DIVIT), BY HASAN RIZA, EARLY 19TH CENTURY
of typical form, the long shaft with hinged opening and engraved and gilded leaf decoration, the inkwell with faceted convex sides, the oval opening with twin hinges and catch, embossed maker’s name and tughra, 5cm high; 28cm long; 6.5cm wide
The inscription reads ‘amel-i hasan riza (’The work of Hasan Riza’); the tughra is of Mahmud II (1808-39).
£3,000-5,000
A QAJAR ENAMELLED SILVER NARGILEH
BASE, PERSIA, FIRST HALF 19TH CENTURY
of ridged conical form, the neck terminating with an everted lip, the sides engraved and filled with enamel, the decoration composed of a row of floral lobed medallions, with two tiers of boteh motifs above, repousse copper base, 20cm
£2,500-3,500
97
A SMALL MING-STYLE BRONZE CENSER FOR THE ISLAMIC MARKET, QING DYNASTY
of rectangular tapering form, supported on four bracket feet and set with an angular handle to each end, cast to either side with a rectangular panel enclosing Quranic inscriptions, the base with an apocryphal Xuande mark, 11cm wide
£400-600
99
A CHINESE CLOISONNE ENAMEL AND BRONZE TRIPOD CENSER FOR THE ISLAMIC MARKET, LATE QING DYNASTY
the slightly compressed globular body rising from three short conical feet to an everted rim set with a pair of loop handles, cast to the front and back with a medallion enclosing Quranic script, reserved on a yellow cloisonne enamel ground with lotus and florets, the base with an apocryphal Xuande seal mark, 9cm diameter
£500-800
98
A CHINESE BRONZE TRIPOD CENSER FOR THE ISLAMIC MARKET, QING DYNASTY, 18TH CENTURY
the compressed globular body rising from three conical feet to an everted rim set with a pair of loop handles, cast around the exterior with two cusped panels reserved with Quranic inscriptions, one which may be translated as ‘There is no God but Allah’, apocryphal Xuande mark to base, 14.5cm diameter
£600-800
100
A MAMLUK TINNED COPPER DISH, EGYPT, 15TH CENTURY
hammered and engraved with central roundel with radiating stylised calligraphic and arabesque design, surrounded by a band of scrolling foliage and twin borders of split palmettes, the outer sides with a band of calligraphic cartouches alternating with blazon medallions, 5cm high; 37cm diam.
For a closely related dish in the Metropolitan Museum of Art, New York, see inv. no. 2018.472
£800-1,200
101
A SAFAVID PARCEL GILT AND NIELLO SILVER SCENT BOTTLE, PERSIA, 18TH CENTURY
engraved with quatrefoil floral medallions and stippled leaf motifs, chain attached to stopper at the top, the bottom with bud finial, two suspension loops on the inner side, 9.5cm long
£300-400
102
A LATE OTTOMAN PARCEL-GILT SILVER INCENSE BURNER, CIRCA 1900
the twin hinged lidded vessels in the form of pine cones on leafy branches, on a tray in the form of a vine leaf, 14cm high
£300-500
AN OTTOMAN SILVER-MOUNTED SHAMSHIR, PROBABLY REIGN OF ABDULAZIZ, R. 1861-1876
with slender curved single-edged blade, hilt comprising border engraved quillon-block with pointed langets and bud-shaped quillon terminals, border engraved grip-strap and rounded rhinoceros grip seales indented for the fingers, the pommel with silver-mounted piercing for a sword-knot, in original wooden scabbard covered in black leather with deep border engraved locket and chape, and shaped suspension mounts en suite, and each with suspension ring, 85.5cm (blade)
£600-800
A LUSTRE DISH, PROBABLY MUEL, ZARAGOZA, SPAIN, EARLY 17TH CENTURY
with a complex radiating design of stylised animals and foliage around a central bird in copper on cream coloured ground, the underside painted with a series of concentric circles around a small ring foot, 31cm diam.
Lustre pottery was produced in Muel, South-West of Zaragoza for only a relatively short period, ending in 1610 when the Morisco community was deported,
£1,000-1,500
105
THREE QAJAR GLAZE PAINTED AND CUERDA SECA TILES, PERSIA, SECOND HALF 19TH CENTURY
depicting a rosebush with a dove perched on an upper branch, the underside of each with projecting ‘frogs’ for adhesion, 57.5 x 19cm (together)
£1,000-1,500
106
TWO QAJAR POLYCHROME TILES, PERSIA, LATE 19TH CENTURY
of square form, the glaze painted and cuerda seca design comprising a roundel with a view of a palace amongst trees with figures and a river in the foreground, brightly painted stylised foliate decoration above and below, the reverse of each with projecting ‘frogs’ for adhesion, 38.2 x 19.4cm (together)
Similar tile decorations can be seen in the Golestan Palace, Teheran, rebuilt in 1865.
£500-700
107
A LARGE DAMASCUS TILE, OTTOMAN SYRIA, LATE 16TH CENTURY
underglaze painted fritware, decorated with ‘arabesque medallion’ design in green, light and dark blue and aubergine purple, on white ground, a scrolling arabesque border and plain white band at the bottom, 30 x 28.5cm
For a closely related tile in the Arab Hall, Leighton House, see Millner 2015, fig. 6.38, p. 259.
£1,200-1,500
108
A FRAGMENTARY DAMASCUS
TILE, OTTOMAN SYRIA, LATE 16TH CENTURY
underglaze-painted fritware, with repeated arabesque medallions within a floral and leafy trellis, 23.5 x 29.5cm
£400-600
109
AN IZNIK BORDER TILE, OTTOMAN ANATOLIA, 17TH CENTURY
underglaze painted fritware, of rectangular form, with bevelled decorated lower edge, with polychrome scrolling floral designs on black ground, mounted for wall-hanging, 13.5 x 24.5cm
Provenance: Sir Howard Hodgkin (1932-2017). Acquired Claude Aguttes, Paris, 18th May 2011, lot 72
£400-600
110
A DAMASCUS BORDER TILE, OTTOMAN SYRIA, 1560-70
underglaze painted fritware, the undulating arabesque design with lotus flowers and Chinese clouds, thin black borders on long edges, 14.4 x 27.8cm
For two other tiles of identical design, see Millner 2015, fig. 6.110, p.291.
£1,000-1,500
AN IZNIK POTTERY JUG, OTTOMAN ANATOLIA, CIRCA 1600
underglaze painted fritware, with bulbous body, serpentine handle and flared neck, the sides and neck decorated with bands of tulips alternating with carnations, 22cm high
£3,000-4,000
112
AN IZNIK PANEL OF THREE TILES, OTTOMAN ANATOLIA, CIRCA 1600
underglaze painted fritware, the white slip ground painted in relief red, cobalt blue, green and turquoise with black outlining with interwoven tendrils, saz leaves, lotuses and peonies, filled with prunus flowers, framed, with old collector’s label on the reverse, 22.3 x 72cm
Provenance: Private collection, London. Acquired Christie’s London, 8 October 2015, lot 82. Previously in a Greek private collection since 1960s (the label on the reverse states that this panel was displayed in the owner’s dining room).
Tiles of similar design with slightly different colours can be seen amongst others on the low enclosure wall surrounding the tomb of Bosnali (Bosnian) Ibrahim Pasha (1603) in the Şehzade Camii, Istanbul.
£8,000-12,000
113
A LARGE MULTAN MOULDED RELIEF TILE, PUNJAB, PAKISTAN, 19TH CENTURY
with geometrical design in cobalt blue, superimposed on light blue floral star pattern, the decoration on recessed white slip ground, 29.5 x 34.5 x 4.5cm
Provenance: Formerly the property of a deceased collector, Dubai.
For related 19th century tiles on the Tomb of Rukn-i Alam, Multan, see Akhund & Askari 2011, fig. 241, p.151.
£800-1,200
114
A
LARGE MULTAN TILE, PUNJAB, PAKISTAN, CIRCA 18TH/19TH CENTURY
of square form, with geometric meander and star design in reserved white on cobalt ground with turquoise blue, 33 x 33.5cm
Provenance: Formerly the property of a deceased collector, Dubai.
Tiles of this design can be seen in the upper arched niches of the ruined tomb of Bibi Jawindi, Uchh Sharif. The tomb was built at the end of the 15th century, but after disastrous floods in 1817, half of the building was washed away. Many of the tiles date from this time and subsequent restorations. See Millner 2021, fig. 4.105
£800-1,200
SIX TILES FROM A CALLIGRAPHIC FRIEZE, PROBABLY SINDH, 19TH CENTURY glazed earthenware, each with script in reserved white on cobalt blue ground, thin white and turquoise borders, turquoise leaf motifs amongst the text, 30.5 x 23cm
Provenance: Collection of a deceased collector, Dubai.
Although these tiles appear to come from the same original frieze, they do not follow on directly from each other. The first five are all from Qur’an 2:255 (Ayat al-Kursi), and the sixth could come from a number of verses, ”those who believe and …”
£4,000-6,000
116
A GILDED AND ENAMELLED GLASS ‘MAMLUK REVIVAL’ BASIN, FRANCE, SECOND HALF 19TH CENTURY
of waisted cylindrical form with everted lip, gilt and enamelled in blue, red, yellow, green and white, the interior base with Mamluk blazon depicting a sword surrounded by a large thulth inscription, the sides with a band of leafy roundels containging calligraphic medallions alternating with a field of polychrome stylised floral decoration, the inner lip with a band of scrolling leafy tendrils, 15cm high; 23cm diam.
This basin bears close affinities to a series of imitations of Mamluk glass produced in Paris by Philippe-Joseph Brocard in the 1870s-1890s when European enthusiasm for Islamic art was especially strong. For a mosque lamp in the Victoria and Albert Museum, see inv. no. 71-1890.
£800-1,200
117
AN IZNIK HEXAGONAL TILE FRAGMENT, OTTOMAN ANATOLIA, 1530-1540
underglaze painted fritware, the design comprising cobalt and turquoise peonies and arabesques on white ground around a central floral star, 12 x 18.3cm
Provenance: Sir Howard Hodgkin (1932-2017). Acquired Thierry de Maigret, Paris, 17 June 2016, lot 190. A closely related tile also from the Hodgkin Collection was sold at Dreweatts, 22 May 2019, lot 12.
£600-900
118
AN IZNIK BORDER TILE SECTION, OTTOMAN ANATOLIA, CIRCA 1570
underglaze painted fritware, the intricate reserved white and relief red composite split-palmette design on cobalt ground, turquoise bands on each side, mounted for wall hanging, 11.3 x 14.6cm
Provenance: Sir Howard Hodgkin (1932-2017)
For a near-identical tile fragment from the Franks Collection in the British Museum, see inv. no. 1895,0603.148
£500-800
119
AN IZNIK TILE, OTTOMAN ANATOLIA, 1560-1570
underglaze-painted fritware, from a spandrel panel, divided diagonally into a cobalt blue ground border decorated with composite tulips in reserved white, turquoise and low relief red slip, and a white ground panel with mottled blue, turquooise and relief red peony and saz leaf design, 25 x 24.5cm
£3,000-5,000
120
AN IZNIK TILE, OTTOMAN ANATOLIA, CIRCA 1600
underglaze painted fritware, with part of a saz leaf and peony trellis, in two shades of blue, with emerald green and relief red on white ground, 24.5cm square
Provenance: Private collection, London. Acquired Joost van den Bergh, London. Formerly in the collection of Heidi Vollmoeller.
£1,000-1,500
121
AN IZNIK TILE, OTTOMAN ANATOLIA, LATE 16TH CENTURY
underglaze painted fritware with relief red slip decoration, depicting dense interlocking slip palmettes on turquoise ground, with a cobalt blue border along one edge, the opposite corner with part of a lobed medallion on reserved white ground, with composite saz leaf motif, 24.5cm square
Provenance: Private collection, London. Acquired at Christie’s South Kensington, about 30 years ago.
£1,000-1,500
122
A LARGE GLAZED POTTERY STAR TILE, MULTAN, PAKISTAN, 19TH CENTURY OR EARLIER
earthenware, with central turquoise stylised floral motif on cobalt blue ground, 41.5cm max. diam.; 6cm thick
Tiles with similar floral motifs, but on ogival rather than star-shaped medallions, probably dating from the 19th century restoration, are set into the drum supporting the dome of the famous tomb of Rukn-i Alam in Multan. See Akhund & Askari 2011, p.144-145.
£300-500
123
A DAMASCUS TILE, OTTOMAN SYRIA, 17TH CENTURY
underglaze painted fritware, depicting part of a repeated flower vase design with vertical border of scrolling flowers and saz leaves on the right, 25 x 21cm
Provenance: Private collection, London. Acquired in London about 25 years ago.
£300-500
124
A SINDH RELIEF TILE, PROBABLY HALA, PAKISTAN, CIRCA 1900
polychrome glazed and moulded earthenware, of square form with s-curve profile, depicting a stylised narcissus, flanked by feathery acanthus leaves, 29.5cm square approx.
Similar friezes of convex glazed tiles can be seen on some of the subsidiary buildings in the courtyard of the Sufi shrine of Abdul Latif Bhittai at Bhitshah, near Hala.
£200-300
125
A CANTAGALLI LUSTRE RELIEF TILE IN KASHAN STYLE, ITALY, LATE 19TH CENTURY
of square form, with polychrome and copper arabesque design with cartouches containing arabic calligraphy, scrolling borders with mythical beasts above and arabesques below, the reverse with Cantagalli cockerel mark and ‘11’ in cobalt blue, 28 x 26cm
£400-600
A PAIR OF PORCELAIN FIGURES OF OTTOMAN SOLDIERS, VIENNA, AUSTRIA, 18TH CENTURY
each on rectangular base, wearing long flowing coats and tall hats, one holding a rifle, together with a further fragmentary loose rifle, 16cm; 15.5cm (3)
The loose rifle is the original belong to the larger figure while the rifle he is holding is restored. See condition report.
£400-600
£800-1,200 126
127
A SAMSON VASE IN KIRMAN STYLE, PARIS, CIRCA 1880-1900
of drop-shaped form on flared foot, ridged neck, the flattened body painted in cobalt blue and red on white ground, the sides painted with a spray of carnations within a band of scrolling foliage, the shoulders with arabesque medallions attached to twin palmettes above and below, on serpentine bronze base, pierced for electrical connection, the underside also drilled and inscribed with Samson mark, 38cm high including base.
For an idea of the Kirman prototype for this vase, see Christie’s London, 10 April 2014, lot 80.
128
AN IZNIK DISH, OTTOMAN ANATOLIA, FIRST HALF 17TH CENTURY
underglaze painted fritware, the centre with double saz leaf motif, flanked by stylised floral sprigs, the lip with alternating triangles containing half-flower motifs, the underside with drillings and old labels, 25cm diam.
£800-1,200
129
A SAFAVID BLUE AND WHITE DISH, PERSIA, 17TH CENTURY
underglaze painted fritware, the well with rounded depicting pomegranates in a landscape, the lip with chinoiserie scrolling decoration, serpentine rim, 6.5cm high; 32cm diam.
£400-600
130
A SAFAVID BLACK PAINTED TURQUOISE ‘KUBACHI’ DISH, PERSIA,
LATE 17TH CENTURY
fritware, decorated with a radiating lotus petal design, the underside with twin concentric painted rings around the small ring base, old labels underneath, 27cm diam.
£400-600
131
A SAFAVID CHINOISERIE BLUE AND WHITE CHARGER, CIRCA 1700
underglaze painted fritware, the central roundel with a pair of Chinese figures under a floral canopy, surrounded by a broad band of interlocking arabesques, the underside with lotus design around unglazed footring, 33cm diam.
£700-900
132
A MAMLUK BLUE AND WHITE TILE, SYRIA OR EGYPT, 15TH CENTURY
of rectangular form, with reserved white lotus design on cobalt ground, thin white border on two sides, mounted, 15 x 18.5cm
Provenance: Formerly in the collection the American artist and designer, Lockwood de Forest (1850-1932).
De Forest, who visited Damascus in 1876, acquired tiles there to be used in his interior design schemes. There were several others in his collection with similar designs to ours. See for example, Millner 2015, figs. 6.27-6.29, pp.253-254. It is not clear where these tiles were originally set, but many owners of private houses were removing tiles to raise money in the 1870s. There are a small number of hexagonal tiles with related design in the Ghars al-Din Tawrizi Mosque, but none of them are in rectangular format.
£800-1,200
133
THREE FRAGMENTARY DIYARBAKIR BORDER TILES, SOUTHERN ANATOLIA, SECOND HALF 16TH CENTURY
with cintamani and tiger stripe design in reserved white on cobalt ground, interspersed with pale blue heard and dot motifs, framed, 13.5 x 48.5cm
Provenance: Private collection, London. Acquired from the late Henry Brownrigg, Portobello Road
£700-900
134
TWO CUERDA SECA TILES, SAFAVID OR ZAND, PERSIA, 17TH/18TH CENTURY
each with yellow painted cruciform design with stylised flower head motif at the centre with four projecting cobalt blue palmettes, a quarter arabesque metallion in each corner, one mounted on stand, 21.5 x 20.5cm; 21 x 20cm
£1,200-1,500
135
FOUR QAJAR POTTERY TILES, PERSIA, 19TH CENTURY
underglaze painted in cobalt and turquoise, each with a star design containing a floral medallion, border with scroll motifs below, 21cm square approx. each
Provenance: Galerie Alexis Renard, c.2004
£400-600
136
A LATE SAFAVID OR ZAND CUERDA SECA TILE, PERSIA, 17TH/18TH CENTURY
depicting the head of a youth by a tree with a hill in the background, a scrolling foliate border above, 24.5cm square
£1,000-1,500
138
A MUGHAL CUERDA SECA TILE, DELHI OR LAHORE, MID-17TH CENTURY
glazed red earthenware, of square form, depicting the spotted coat of a leopard with the hind leg of a deer, 21 x 20.5cm
Provenance: Private collection, London. Received by the vendor as a gift a few decades ago. Said to have been originally found in Salimgarh Fort, Delhi
Published: Millner 2021, fig. 3.51, p.115
This tile is one of a very small number of Mughal tiles in cuerda seca technique to be linked, albeit in this case anecdotally, to Delhi rather than Lahore or Kashmir. Salimgarh Fort was built in the mid-16th century, but is thought to have been redecorated in Shah Jahan’s reign before the construction of Shahjahanabad. The subject matter of this tile, part of a hunting scene, might be taken to suggest a secular setting. Another related tile is displayed at the new museum near Humayun’s Tomb. It was found by the late Professor Muhammad Yunus near Nili Chattri, next to Salimgarh and depicts a similar hunting scene. See Millner 2021, p. 114-115.
£1,500-2,500
137
A SAFAVID CUERDA SECA TILE DEPICTING AN ANGEL, PERSIA, 17TH CENTURY
glazed buff earthenware, the winged figure depicted holding an arabesque scroll, a formal border of scrolling split palmettes and irises on two sides, mounted, 24cm square
£800-1,200
139 A CARVED WOOD STRUT, KATHMANDU VALLEY, NEPAL, 15TH/16TH CENTURY OR EARLIER
depicting a graceful salabhanjika figure under a leafy branch, her right arm raised and her legs crossed at the ankles, her feet resting on a diminutive pair of devotees, 105cm
Provenance: Koller Gallery, Zurich, 1 June 2022, lot 120. Swiss private collection 1991-2022, acquired in London, circa 1990.
This sculpture has been subjected to a radiocarbon dating test at R.C.D. Lockinge, Wantage in 2022, the results of which indicate that the timber, at least, can be dated 10th-12th century.
£2,000-3,000
140 (detail)
140
A PALA GILT WOOD MODEL OF THE MAHABODHI SHRINE, BODH GAYA, INDIA, CIRCA 11TH CENTURY
of tall, tapered form, square section, the basement shrine with rectangular opening, the three niches on the other sides with standing figure of Tara, a seated figure of Buddha and a seated figure of Manjusri, the seven storied shikara above with miniature niches containing forms of the Buddha, flanked by subsidiary niches on the corners with Buddha and stupa images, surmounted by separately carved kalasa finial resting on an amlaka, mounted, 46cm
Provenance: Formerly private collection, Bangkok
This lot is sold with a radiocarbon test report from Rafter Radiocarbon Laboratory, New Zealand, affirming a mid-11th century date.
A number of models of the temple at Bodhgaya, probably made for pilgrimes, where the Buddha reached enlightenment, have been found in Tibet, Nepal, Burma, and North India, most are attributed to the 11th-12th century. Examples in stone are at the Metropolitan Museum of Art, New York (2006.218), the Museum of Fine Art, Boston (47.1343), the British Museum (1922,1215.7) and the Rubin Museum, New York (F.1996.29.3 (HAR506)).
£4,000-6,000
THE COLLECTION OF THE LATE CHRISTOPH VON FÜRER-HAIMENDORF
LOTS 141-155
Professor Christoph von Fürer-Haimendorf (1909-1995) was born into an aristocratic family in Austria, and studied anthropology and archaeology in Vienna. He then moved to London to further his studies under the renowned anthropologist, Bronislaw Malinowski, before travelling to India in 1936. There, he focused his research on the Naga people in the far North-Eastern region, learning their language and studying their culture. He married the British ethnologist, Betty Barnardo, in 1938 and together they travelled to India. With the advent of the Second World War, he became an enemy alien in British territory, but thanks to his long-standing friendly relations with the British authorities, it was quickly understood that he was not a supporter of Hitler and he was released to continue his work, albeit initially confined to Hyderabad State. After the war, he worked as advisor for tribal affairs to the Nizam’s government before visiting Nepal in 1953, where he was the first foreigner to study the people of the newly opened Himalayan kingdom. Later, he returned to London to set up a new Department of Anthropology at the School of Oriental and African Studies. Much of his time at SOAS was focused on Nepal, and he remained in post at the School, gaining numerous honours and awards, until his retirement in 1976. He continued to make extended trips to India and Nepal every 2-3 years and published 3 more books at the age of 80. Both his and his wife’s ashes were buried in Marlavai, Andra Pradesh, their village home during the war years.
Christoph with Chenchu hunter
A THANG-KA DEPICTING FORMS OF THE BUDDHA, TIBET, 18TH CENTURY
gold with red pigment on cloth, with touches of black and white, the primary figure seated on a lotus throne, with hands in bhumisparsa and dhyana mudra, surrounded by seven tiers of smaller Buddha figures, including Vairocana, Amoghasiddhi, Amitayus and the Buddha preaching, 53 x 38cm
For a related red and gold thang-ka in the Rubin Museum, New York, depicting the fifth Dalai Lama, see inv no. F1996.29.3 (HAR506).
£800-1,200
A PAIR OF SINO-TIBETAN THANG-KAS DEPICTING THE EIGHTEEN ARHATS, 18TH CENTURY
two paintings in pigment on cloth, the figures depicted in two groups of nine, facing opposite directions, standing in a mountainous landscape, wearing brocaded robes, each attended by a pair of lokapalas, figures of a bodhisattva floating in the heavens above, each painting with silk brocade mount, 49 x 35cm (each painting); 95 x 51cm (with mount) £800-1,200
143
A THANG-KA DEPICTING LHA-MO ON HER MULE, TIBET, 19TH CENTURY
pigment with gold on cloth, the fierce goddess brandishing a staff with vajra finials, riding her mount through a blood red river, flanked by a figures of Simhavaktra, figures of bodhisattvas and dakinis above and below, painted red and yellow borders, black cloth mount, plain wood pole, 52 x 37cm (painting); 86 x 54cm
£300-400
144
A THANG-KA DEPICTING AMITAYUS, TIBET, 19TH CENTURY
pigment with gold on cloth, the red figure of the Buddha seated on a raised lotus throne, wearing gold brocade robes, flanked by standing figures of Padmapani and Vajrasattva, silk and gilt thread brocade mount, splash dyed silk cover, plain wood poles, 39 x 26cm (painting); 75 x 46cm 9with mount)
£250-350
145
A THANG-KA DEPICTING TARA, TIBET, 19TH CENTURY
pigment on cloth, the Buddhist goddess seated on an elaborate throne in lalitasana, a figure of a lama above, plain black cotton mount, 44.5 x 29cm (painting); 73 x 45cm with mount
£250-350
A GROUP OF TEA BOWLS, TIBET, CIRCA 1900
comprising three jade bowls with engraved brass lotiform stands and domed lids, the latter with coral handle, and three wood bowls, two lined with sheet silver, 15cm high (bowls with stand and lid); 5.5cm high (largest wood bowl)
£400-600
147
A GROUP OF THIRTEEN SMALL BUDDHIST PAINTINGS OF DEITIES, TIBET, CIRCA 1900
six painted on cloth, the remainder on paper, each identified in Tibetan on the reverse with translations in English, 10.5 x 8.5cm each approx., together with a Silk Brocade Thang-ka Mount, China and Tibet, with silk straps, pole and silk cover, 130 x 71cm
£250-350 146
148
A TANTRIC MANUSCRIPT, TIBET, PROBABLY LATE 19TH CENTURY
black ink on horizontally oriented loose folios, highlights and significant words in red, the title page illuminated, in carved wood covers, 64 folios, 7.8 x 31cm
The title is gzhi khro bar do thos grol gyi dbu phyogs (“The first part of the “gzhi khro bar do thos grol”: literally: “That which (when read out) liberates on being heard those in the intermediate state between peace and passion, i.e. those who have recently died but have not yet passed into nirvana”). The text is related to the 100 Peaceful and Wrathful Deities (shitro, zhi khro) and Liberation Through Hearing in the Bardo/ Bardo Thödrol, or Tibetan Book of the Dead.
£200-300
A SINO-TIBETAN THANG-KA DEPICTING A LAMA, 19TH CENTURY pigment with gold on cloth, the large central figure wearing brocaded robes, seated on a lotus on an island in a lake in the midst of a verdant landscape, surrounded by ten Buddhist figures including an arhat, lamas, Mahakala, Vajrapani, Samvara and Padmasambhava, Chinese brocade silk mount, splash dyed silk cover and wood pole with brass caps, 73 x 49cm (painting); 127 x 80cm (with mount)
£1,500-2,500
150
A THANG-KA DEPICTING MONKS IN A MONASTERY, NEPAL OR TIBET, MID-20TH CENTURY
pigment on cloth, the scene of stylised form, framed by red and yellow borders, a mantra inscribed on the reverse, 59 x 45cm
£120-180
151
A THANG-KA DEPICTING LHA-MO ON HER MULE, TIBET, 19TH CENTURY
pigment on cloth, riding through a hilly landscape amidst billowing flames, silk brocade mount, 34 x 28cm (painting); 65 x 46cm (with mount)
£200-300
152
A CARVED POWDER FLASK AND FLINT POUCH, TIBET, 19TH CENTURY
the flask of carved horn in the form of a makara, with relief decoration including a lotus mandala, a scorpion, a frog and a stupa, brass mount, later wood stopper, strung with square cloth pads, the pouch of leather with brass repousse cover inlaid with a coral, brass and white metal mounts, silk cloth attachment, 16cm long (horn); 7 x 11.5 x 3cm (pouch) (2)
£200-300
A
THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY
pigment with gold on cloth, the central figure seated on a lotus emerging from a pool in a hilly landscape, surrounded by numerous figures of lamas and arhats, four lokapalas along the bottom, the reverse with long Tibetan inscription in black ink, with mantras in red Tibetan and Lantsa script, cotton and silk brocade mount, with applique silk embroidered roundel at the bottom, fragmentary block printed silk cover, 68.5 x 45.5cm (painting); 117 x 73cm (with mount)
The text on the reverse is a series of consecrations. Om ah hum, the standard consecration mantra of the enlightened body, speech and mind appears numerous times concerning the crowns, throats and hearts of the figures, including the main figure of Buddha along with other verses and mantras. £1,000-1,500
A THANG-KA DEPICTING BUDDHA, TIBET, LATE 18TH CENTURY pigment with gold on on cloth, the central figure of Buddha seated on a lotus throne within a shrine in a hill landscape, devotees flanking the wheel of the law in front, standing figures of the bodhisattvas Padmapani and Vajrasattva respectively on either side, surrounded by numerous other figures of bodhisattvas, lamas, devotees and dharmapalas, including, at the top, the five tathagatas, and, at the bottom, figures of Lha-mo and Beg-tse, in composite silk and metal thread brocade mount, splash dyed silk cover, cotton lining and plain wood pole, inscriptions including mantras in Tibetan script on the reverse, 74 x 48.5cm (painting), 144 x 65cm (including mount)
£2,500-3,500
A SINO-TIBETAN THANG-KA DEPICTING VAJRADHARA IN YAB-YUM WITH HIS CONSORT pigment with gold on cloth, the couple in erotic embrace on a lotus in the middle of a pool in a verdant hilly landscape, surrounded by figures of lamas and Buddhist deities, including Padmasambhava, Mahakala, Milarepa and Vajrasattva, silk brocade mount, splash dyed cover, 73 x 49cm (painting); 128 x 80cm (with mount)
£2,000-3,000
VARIOUS PROPERTIES
A BLACK GROUND THANG-KA DEPICTING MAHAKALA, TIBET, 18TH/19TH CENTURY pigment with gold on cloth, the dharmapala with fiercesome expression, standing on a corpse surrounded by flames, holding chopper and skull bowl, a siddha and lama above, further figures of lamas, dakinis and other deities on either side and in the foreground, later cloth mount, 102 x 110cm
For a similar painting in the British Museum, see inv. no.1949,1112,0.1 (Zwalf 1981, pl.41, p.82)
£10,000-15,000
157
A RITUAL SKULL BOWL (KAPALA), TIBET, 19TH CENTURY
mounted in profusely decorated chased and repousse silver, the underside revealing the skull carved with Buddhist mantras in Tibetan script, the cover and stand of later manufacture in white metal, set with coloured glass, the lid with handle in the form of a vajra, the stand of pierced triangular form, 27cm high
Provenance: Van Hamm Auctions, Cologne, 3 December 2015, lot 2144: Private collection, Austria. The catalogue states that Heinrich Harrer was mediator in the acquisition of this object. Heinrich Harrer was a mountaineer and writer, who was renowned for his escape from the British Authorities in the Indian Himalayas after the outbreak of the Second World War. After various escapes, he arrived in Tibet in 1946, where he was employed by the authorities as translator and photographer. He wrote about this time in his book, Seven Years in Tibet (1952).
£700-900
158
TWO SMALL SILVER RITUAL THUNDERBOLTS (DORJE), TIBET, 18TH/19TH CENTURY
one with waisted double lotus handle with fourfold stylised bolts issuing from miniature makaras, the other with eightfold forked bolt terminating in bud finial at either end, 9.5cm long each approx.
£700-900
TWO CARVED AND PAINTED ARCHITECTURAL STRUTS, NEPAL, CIRCA 17TH CENTURY
each depicting a ten-armed dharmapala wielding a sword, one standing on a bird, the other on a coiled snake, a smaller seated figure below with hands in namaskara mudra, 63cm high approx. each
£800-1,200
160
A GROUP OF FIVE HINDU TANTRIC PAINTINGS, NEPAL, 19TH CENTURY
gouache with silver and gold on paper, each depicting a Hindu deity, inscribed on the back in devanagari, framed, 40 x 26cm (image); 42.5 x 29.5cm (folio)
Provenance: Private collection, London. Acquired Christie’s Paris, 13 June 2013, lot 283. Previously in a French Private Collection since 1982.
Inscriptions:
Painting 1: verses extracted from the third chapter of the anonymous Śaktisangamatantra, a later Tantra composed between the last part of the sixteenth and the first half of the seventeenth century. The passage is contains a depiction of the form of the Goddess which the Tantric practitioner ought to visualize during meditation. In the painting, she is embracing her consort Śiva, and the text describes the Goddess as naked, wearing a garland of skulls (here shown as human heads), her fangs are frightful, her hair dishevelled, her eyes reddish, her tongue flaming; she holds a sacrificial sword, a bowl made from a skull, etc. At the end, the scr ibe indicates as source of the verses the Śaktisangamatantra (iti Śaktisam game).
Painting 2: four anonymous stanzas in honour of Śiva, collected in the form of a hymn. Traditionally, these stanzas are collectively titled Śivamānasapūjā and are attributed to Śankarācārya. The hymn describes a ritual (pūjā) performed in the mind (mānasa) of the devotee to worship Śiva with a five-fold offering of rice porridge (pāyasa) prepared with fresh milk (payas), milk curd (dadhi), and ghee (ghr ta), a shiny plantain fruit (rambhāphala), various types of boiled rice (śālyanna), camphor (karpūra), and a betel leaf (tāmbūla), offered in a golden bowl adorned with the nine precious jewels. These stanzas are collected also in the Nīlakan t has at karmaprayoga, a ritual text dedicated to lord Nīlakantha (i.e. Śiva), as well as the Bodhāyanaprayoga attributed to the sage Bodhāyana, another ritual text describing the procedure for performing the pūrvaprayoga and the aparaprayoga, the domestic rituals performed by a householder by offering oblations into the holy fire.
Painting 3: verses extracted from the third chapter of the anonymous Śaktisangamatantra. At the end, the scribe indicates as source of the verses the Śaktisangamatantra (iti Śaktisam game). The passage contains a depiction of the form of the Goddess which the Tantric practitioner ought to visualize during meditation. The description in the text corresponds to the painting: she is blue, has four arms and three eyes; she dwells on top of a pile of severed heads, naked with firm raised breasts and a gaping mouth; her hair is disheveled, she is adorned with a garland of severed heads, in one of her left hands she holds a sacrificial sword and in the other a severed head, one of her right hands holds a bowl made from a skull and the other has a raised forefinger, her resting places are cemeteries and she is accompanied by demons.
Painting 4: verses describing the form of the Goddess, of Śiva, and of the mystical diagram (yantra) in the painting, which the Tantric practitioner ought to visualize during meditation. The section for each form is introduced by a heading: the first section (atha daks in akālīdhyānam ) describes in which form the Goddess is to be visualized. All or some of these verses occur – often with several variant readings – in numerous Tantras. The second section (atha mahākāladhyānam ) focuses on Śiva, whom the practitioner ought to visualize as Mahākāla, time as the Destroyer. The source of these verses is the Puraścaryārn ava, a lengthy compendium composed in the 18th century by the Nepalese ruler Pratāpa Simha Śāha of the Gorkhali dynasty (Pratap Singh Shah, 1751-1777) (Goudriaan and Gupta 1981, 157). The third section (atha yantradhyānam ) describes the form of the diagram to be visualized by means of verses again taken from Navamīsim ha’s Tantracintāman i; the instructions could be used also to draw the diagram, at least partially.
painting 2 (detail)
Painting 5: verses describing the form of the Goddess which the Tantric practitioner ought to visualize during meditation. As already introduced in the heading (atha kāmakalākālīdhyānam ), this form is Kāmakalā Kālī, one of the nine manifestations of Kālī. As in the case of the previous painting, the source of these verses is the Puraścaryārn ava, from which a rather long passage is quoted. However, the original source might originate from older Tantras, such as the Kālīkulār navatantra. This form of Kālī is a manifestation of Śiva’s consort worshipped as a jackal (śivā) “by means of a ritual offering of a tribute of food at a crossroads, on a
cremation ground or in a dense wood; this should preferably be done at midnight on the fourteenth (and darkest) night of the dark half of the month” (Goudriaan and Gupta 1981, 79); in the painting, the Goddess holds a young jackal (śivāpota in the verses) with two of her hands.
(We are indebted to Camillo Formigatti for interpreting the texts on the back of these paintings. A fuller version of his analysis is available on request; see also Goudriaan & Gupta 1981).
£6,000-9,000
lot 160 (painting 5)
161
A PAUBHA DEPICTING A STUPA, NEPAL, 19TH CENTURY
pigment on cloth, the stupa in a lake with central figure of Manjusri in a landscape filled with various Buddhist and Hindu deities, many labelled in Newari, an inscribed panel at the bottom, depicting a royal religious procession, Chinese style red and yellow border, with silk framing folded behind, mounted on board 104 x 82cm £3,000-4,000
A GREY STONE FRAGMENTARY STELE DEPICTING UMAMAHESVARA, PALA, EASTERN INDIA, CIRCA 11TH CENTURY
Siva and Parvati seated together on a double lotus throne under and lobed arch with central lotus halo, diminutive figures of their vahanas, Nandi and a lion, below with a figure of a rishi in the middle, the god caressing his consort’s chin while she holds a mirror, both with elaborate headdresses, mounted, 63cm high
Provenance: Private collection USA 1985-2002. Acquired by the vendor from a subsequent owner in 2016.
‡ £4,000-6,000
163
A PINK SANDSTONE RELIEF FRAGMENT DEPICTING UMAMAHESVARA, CENTRAL INDIA, 8TH/9TH CENTURY
seated together on their vahanas, Siva in lalitasana on Nandi and Parvati on her lion, the four-armed god playing the veena, mounted, 40cm high
£700-900
164
A BUFF SANDSTONE FRAGMENTARY CORBEL, CENTRAL INDIA, 11TH/12TH CENTURY
in the form of a gana, with bulging eyes and bared teeth, 26 x 24 x 14cm
£1,200-1,800
165
A KUSHAN MOTTLED PINK SANDSTONE RELIEF FRAGMENT, MATHURA, INDIA, 2ND/3RD CENTURY A.D.
carved in relief, probably from a railing pillar, depicting the head of a salabhanjika, holding a khadga in her right hand, leafy branches behind, her hair gathered in an elaborate five-fold bun, mounted, 21cm high
£800-1,200
166
A KUSHAN PANEL DEPICTING A TRITON WITH A PAIR OF MAKARAS, MATHURA, INDIA, 1ST-2ND CENTURY
buff sandstone relief, the figure with protruding fangs, holding the tails of the makaras in his arms, mounted, 27.5 x 29cm
Provenance: London Art Market, 1986
Exhibited and Published: John Siudmak Asian Art at C.G. Boerner Gallery, New York, 10-19 March 2016, cat.27
£1,000-1,500
167
A FRAGMENTARY TERRACOTTA PLAQUE DEPICTING A YAKSHI, BENGAL, 1ST CENTURY B.C. -1ST CENTURY A.D.
with elaborate headdress and jewellery, mounted, 6.5cm
Published: John Siudmak Asian Art 2019, online catalogue
£400-600
168
A GUPTA TERRACOTTA TOY IN THE FORM OF A GRIMACING RAKSHASA, NORTHERN INDIA, 4TH/5TH CENTURY
the dwarf-like pot bellied figure with bared teeth and pot belly, a horizontal slot at the base for an axle, mounted, height 15cm, width 10cm
£300-400
169
A SUNGA FRAGMENTARY PLAQUE DEPICTING A YAKSHI, BENGAL, 1ST CENTURY B.C./1ST CENTURY A.D.
terracotta, wearing elaborate headdress, large disc earrings, necklace and large circular pendant, mounted, 8 x 11cm
£400-600
170
A SUNGA STONE ROUNDEL, NORTHERN INDIA, 1ST CENTURY B.C. / FIRST CENTURY A.D.
sandstone, carved in relief, depicting a woman riding a horse, raised floral border, mounted, 6.2cm diam.
£400-600
171
TWO SUNGA FRAGMENTARY PLAQUES, PROBABLY CHANDRAKETUGARH, BENGAL, 1ST CENTURY
BC/1ST CENTURY AD
relief moulded terracotta, each depicting a yakshi in relief, richly adorned with elaborate headdress, multiple bracelets and heavy chain belt, 18cm; 17.5cm
Published: Siudmak 2019, nos. 10 & 11
£400-600
172
A GROUP OF FOURTEEN GANDHARA TERRACOTTA FIGURINES, NORTH-WESTERN PAKISTAN, 2ND/ 3RD CENTURY
one depicting a couple, the remainder female figures, most wearing voluminous robes in Greco-Roman style, one, possibly Sunga, wearing heavy anklets and earrings, 11.5cm and smaller
£1,000-1,500
173
A SMALL STEATITE FIGURE OF PADMAPANI, KASHMIR, CIRCA 7TH CENTURY
standing in relaxed pose, with his head resting on his left hand, a lotus at his left shoulder, two ganas at his feet, an attendant on his right, mounted, 9cm
£600-800
174
A GREY GREEN STEATITE SIVA LINGAM, KASHMIR, 8TH/9TH CENTURY
of domed form with engraved phallic detail, on square plinth with projecting spout on one side, mounted, 10x11x13cm
For a closely related example in the Metropolitan Museum of Art, New York, see inv. no. 1987.425. Another sivalingam from the Paul F. Walter Collection, was sold in New York in 2017: Stair Gallery, New York, 11 November 2017, lot 374.
£700-900
175
A SMALL STEATITE FIGURE OF A YAKSHI, KASHMIR, CIRCA
6TH CENTURY
possibly a mirror handle, standing in relaxed pose, holding a robe in her right hand, her left resting on her hip, wearing large hoop earrings, standing under a tree, hole drilled in the top of her head, 7.8cm
£400-600
A
SMALL JAIN CARVED BLACK STONE FIGURE OF CANDRAPRABHA,
the nude tirthankara seated in sattvasana on a raised plinth with moon emblem at the centre, surrounded by a cusped arch, mounted, 10.2cm
£2,000-3,000
KARNATAKA, 12TH CENTURY
177
A BUFF SANDSTONE FRAGMENTARY FEMALE BUST, CENTRAL INDIA, 8TH/9TH CENTURY
wearing beaded necklace and tiara, her hair gathered at the back in a bun tied with a beaded chain, mounted, 32cm high
£1,000-1,500
178
THE ROTATION OF THE WHEEL OF THE LAW, ANDHRA PRADESH, 1ST-2ND CENTURY A.D.
yellow-green limestone carved in relief, a queen at the centre with her hand on the wheel in order to turn it, flanked by chauri-bearers, with two male companions behind, a parasol above the wheel, vestiges of a further scene above, perhaps depicting the Great Departure of the Buddha, mounted, 33 x 31 x 4cm
Exhibited and Published: John Siudmak Asian Art at C. J. Boerner Gallery, New York, 16-24 March 2012, cat. 21.
£1,000-1,500
179
A BRONZE FIGURE OF GANESHA, SOUTH INDIA, 15TH-16TH CENTURY
the four-armed pot-bellied, elephant headed deity seated on a raised lotus throne, under an elaborate arch, his vahana, the rat in front, 9.3cm high
£400-600
181
AN EARLY BRONZE FIGURE OF GANESHA, KARNATAKA, CIRCA 12TH/13TH CENTURY
the pot bellied four armed elephant headed deity, seated with legs loosely crossed, his primary hands holding his broken tusk and a bowl of sweets, his upper hands holding axe and mace, surrounded by an arched aureole with kalasa finial, 9cm
£600-800
180
A BRONZE FIGURE OF AN ELEPHANT, PROBABLY WESTERN DECCAN, INDIA, 18TH/19TH CENTURY
with scrolling trunk and long tail, wearing blanket with bells, a howdah on his back with slot, probably for figures of Siva and Parvati, 18.8cm high
Provenance: Private collection, London. Acquired in London about 20-30 years ago by the vendor.
£400-600
182
A BRASS MASK OF KALI, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY
with bared teeth, protruding tongue and tiered crown, the face highlighted with red and black lac, 32cm high
Provenance: from the collection of the late Peter Cochrane, acquired in 1971 (inv. no. JPC 71/46)
£500-700
184
A JAIN BRONZE FIGURE OF SUPARSVANATHA, WESTERN DECCAN, 15TH/16TH CENTURY
183
A BRONZE FIGURE OF SIVA AND PARVATI RIDING ON NANDI BULL, WESTERN DECCAN, 19TH CENTURY
the four-armed god seated with his consort on their bull vahana, on separately case plinth, Siva’s primary hands in abhaya mudra and holding Parvati, a trident and drum in his upper hands, 24.5cm high
£600-800
the nude figure standing erect on square plinth, sheltered by a five-headed naga, 16cm high
£400-600
185
A SMALL BRONZE FIGURE OF NARASIMHA, SOUTH INDIA, 16TH/17TH CENTURY
the four-armed lion headed avatar of Vishnu seated in lalitasana on a lotus throne, his primary right hand in abhaya mudra, his consort, Lakshmi on his knee, holding a padma in her left hand 10cm high
£500-800
186
A
JAIN FRAGMENTARY BRONZE SHRINE, GUJARAT, WESTERN INDIA, DATED SAMVAT 1522/1466 A.D
depicting Anantanatha, the 14th tirthankara, seated in padmasana on a throne supported by pairs of lions and elephants, inlaid with copper and silver, flanked by further jinas and chauri bearers, dedicatory inscription with date in devanagari script on the reverse, 13cm high
£700-900
187
A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, WESTERN DECCAN, 17TH/18TH CENTURY
the eight-armed Hindu goddess wielding various weapons, her feet resting on her vehicle the lion and the prostrate corpse of the buffalo, battling with the emerging demon, assisted by her lion 12.3cm
£600-800
A BRONZE FIGURE OF GANESHA, KERALA, SOUTH INDIA, 15TH/16TH CENTURY
the ten-armed elephant headed deity with pot belly, seated on a double lotus throne, with legs splayed, his consort on his left knee, his two primary hands holding a butter ball and his broken tusk, various other attributes in his other hands, surrounded by the branches of a tree with a pair of parrots perched above, 17cm high
Provenance: From the collection of the late Oscar Sternbach, New York (1904-1999)
For a closely related image of Ganesha from Kerala in the National Museum, New Delhi (inv. 66.87), see George Michell et al., In the Image of Man, Arts Council of Great Britain 1982, fig.475
Oscar Sternbach was a renowned psychoanalyst based in New York. Born in Vienna, his formative years were spent in the rich artistic, scientific and cultural milieu of the central European city between the wars. He was training to be a lawyer when the Nazis invaded, and after arriving in the United States, embarked on a new career in psychoanalysis, something which he had always been aware of, not least through being a distant relative of Sigmund Freud. He enjoyed considerable success in New York, but beyond this was known for his interest in art, music and left-wing politics.
£4,000-6,000
189
A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, WESTERN DECCAN, CIRCA 18TH CENTURY
on raised plinth, the eight armed goddess holding various weapons, stabbing the demon with her trident as it emerges from the decapitated buffalo, her right foot resting on her lion, 24.5cm
Provenance: From the collection of the late Peter Cochrane, acquired in 1968 (inv. no. JPC 68/68)
£800-1,200
190
A BRONZE FIGURE OF KRISHNA VENUGOPALA, BENGAL, EASTERN INDIA, CIRCA 18TH CENTURY
the youthful deity standing with ankles crossed, playing the flute (now missing), wearing large beaded earrings and tall tiered headdress, later wood stand, 27cm high
For a closely related Krishna figure in the Victoria and Albert Museum, see inv. no. IS 81 1960
£1,500-2,000
191
A BRONZE RITUAL SPRINKLER IN THE FORM OF A COW, INDIA, CIRCA 17TH CENTURY
her head lowered for grazing, a bell attached with a chain to the neck, and a blanket on her back, 11 x 16 x 6cm
The function of this object is suggested by the fact that the mouth and the udders are pierced with holes to allow liquid to flow through. It was probably filled through the hole at the back, where the break in the upper part of the tail perhaps suggests an attachment, such as a funnel. Ritual pourers in the form of cows or cows’ heads are commonly seen in Hindu temples, where the sacred image is lustrated with milk or holy water. For various forms of pourer, see Untracht 1993, no.28; Bussabarger & Robins, p. 80 and Jain & Aggarwala 1989, p.40.
£800-1,200
192
A LARGE BRONZE FIGURE OF A HORSE, WESTERN DECCAN, CIRCA 18TH CENTURY
possibly from a Khandoba and Mhalsa group, wearing bridle, saddle and trappings, inscribed in devanagari on either shoulder, 33cm high
£1,000-1,500
A LARGE BRONZE VIRABHADRA SHRINE, WESTERN DECCAN, 18TH CENTURY
in five sections, with central figure of Virabhadra under a five headed cobra, holding various weapons in his four hands, flanked by diminutive figures of Daksha and Sati, on raised plinth, surrounded by an arched aureole with kirtimukha mask at the top, 30.5cm high
Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1976 (inv. no. JPC 76/37)
£1,000-1,500
A JAIN SUPARSVANATHA SHRINE, GUJARAT, WESTERN INDIA, CIRCA 15TH CENTURY
openwork brass inlaid with silver, the seventh tirthankara seated on a lion throne with identifying svastika symbol, under a five headed cobra and parasol, flanked by pair of standing and seated jinas, and chauri bearers, the arch above with kalasa finial, dedicatory inscription on the reverse in devanagari script, a pair of snakes engraved on the backplate, 21cm high
Although the better known tirthankara, Parsvanatha, is also sheltered by a multi-headed cobra, his cobra has seven heads rather than five as here.
£2,000-3,000
195
A DECCANI BRASS INCENSE BURNER IN THE FORM OF A HAMSA, 16TH/17TH CENTURY
with plump pierced body, hinged at the back, crested head and fan shaped openwork tail, on flared circular domed base, with projecting handle combined with support behind, in the form of a makara, 28x28x14cm
Exhibited and Published: Other-Worldly Creatures: Zoomorphic Metalwork from India, Amir Mohtashemi Ltd., London, 2017, no.7
This distinctive type of object, with its projecting support to provide stability for its smouldering contents, has several close relations in museums and collections (Zebrowski 1997, nos. 103 & 105).
£1,200-1,500
196
A BRONZE FIGURE OF A GOOSE OR HAMSA, NORTH INDIA OR DECCAN, INDIA, CIRCA 17TH CENTURY
perching on a circular lotus base, its claws splayed out. its body neck and wings engraved with stylised feathers, 20 x 14 x 9cm
Exhibited and Published: Other-Worldly Creatures: Zoomorphic Metalwork from India, Amir Mohtashemi Ltd., London, 2017, no. 3 The function of this object is not immediately apparent; the square panel inserted at the back merely covers the hole necessitated by the casting process. A clue is the disc cover at the top of the head, which conceals an opening. This suggests that the object was originally either a lamp, with a wick passing through the opening, or a container. For a bird lamp with an opening on the head in the Fowler Museum, Los Angeles, see Anderson 2006, p. 87.
£400-600
197
A DECCANI BRASS INCENSE BURNER IN THE FORM OF A HAMSA, 16TH/17TH CENTURY
with pierced body, hinged at the back, holding a pendant in his beak and fan shaped openwork tail with sockets for incense sticks, on flared circular domed base, with projecting handle combined with support behind, 30cm high
See footnote to lot 195
£1,000-1,500
198
TWO BRASS FINIALS FROM A PALANQUIN POLE, PROBABLY MYSORE, KARNATAKA, CIRCA 18TH CENTURY
each of faceted cylindrical form, the front section terminating in a makara head with gaping jaws and scrolling snout, the back with point bud shape, the former inscribed with three lines of Kannada script and a line of erased script, the latter with partially obliterated single line, mounted together on perspex, 32.5cm; 25.5cm long
£2,000-3,000
199
A BRONZE EWER, DECCAN, INDIA, CIRCA 17TH CENTURY
the bulbous body with gadrooned decoration, standing on flared rim foot, the horseshoe shaped handle with hinged opening at the top, the scrolling spout with makara terminal, 26cm high
For other ewers of this ‘kettle’ form, see Zebrowski 1997, p.155.
£2,000-3,000
200
A BRASS EWER, NORTHERN INDIA OR NEPAL, 18TH/ 19TH CENTURY
the arched handle with opening at the top, the base and faux lid with lotus decoration, the sides with spiralled fluting, the faceted serpentine spout with makara finial, 22cm high
The lotus decoration is reminiscent of Nepalese metalwork and it is possible that this ewer is Nepalese. The ‘kettle’ form of ewer was produced in several parts of India as well as Iran. For two earlier examples with spiral fluting, see Zebrowski 1997, figs.205 & 206, p.155.
£800-1,200
201
A KOFTGARI CHARPOY LEG, PUNJAB, INDIA, 19TH CENTURY
iron damascened with gold, the bell shaped base supporting a gently flared column, terminating in an upper section with lidded compartment in openings on two side for the charpoy frame, profusely decorated throughout with flower and leaf designs, mounted on wood base, 50cm high
£800-1,200
203
202
TWO SILVER ROSEWATER SPRINKLERS, NORTHERN INDIA,
CIRCA 1800 AND CIRCA 1900
each with spiral fluted bulbous body, standing on flared rim foot, the detachable tapering neck with pierced floral finial, 33cm; 36cm, 1295.5g
£600-800
A SINHALESE SET OF IMPLEMENTS FOR A PALM LEAF SCRIBE, SRI LANKA, 19TH CENTURY
silver damascened iron and horn, comprising stylus, with faceted sides and melon shaped counterweight, a knife with three smaller tools attached and a horn sheath with silver mounts, one further piece missing, mounted
£400-600
204
A BIDRI PAN BOX AND STAND, DECCAN, INDIA, FIRST HALF 19TH CENTURY
lead and zinc alloy inlaid with silver, the box with domed lid surmounted by bud finial, the rectangular tray on bracket feety, densely decorated throughout with dense repeated poppy motifs, 15.5cm high (together), 26.5 x 20cm (tray)
£1,000-1,500
205
A BIDRI SPITTOON, DECCAN, INDIA, 18TH CENTURY
lead and zinc alloy inlaid with silver and brass, with bell-shaped body and flared lip, with lotus petal design, 6.5cm high; 11.2cm diam.
For a spittoon of similar form inlaid with brass from the Jourdan-Barry collection, see Zebrowski 1997, p.180, fig. 264
£700-900
A KUTCH SILVER TEASET, OOMERSI MAWJI OF BHUJ, WESTERN INDIA, 1880-1890
comprising teapot, hot water jug, milk jug and sugar bowl, each of bulbous form on scroll feet, with angled handles, profusely decorated with chased and repousse scrolling foliage, 21cm; 18cm; 14.5cm; 12.5cm, 2994gr
Oomersi Mawji is probably the best known Indian silversmith of the late colonial period. He was court silversmith of the ruler of Kutch, a city renowned as a major centre for the production of silverware, much of which was exported to Europe. For two other sets by this maker sold at auction, see Christie’s London, 10 June 2013, lot 302 and Christie’s New York, 20 May 2015, lot 280.
Ivory Submission: 5JTFLV8A
£5,000-8,000
A BRASS MODEL OF A SIVA TEMPLE, WESTERN INDIA, CIRCA 1900
in fenced enclosure, with steps leading to a mandapa with figure of Nandi in front of opening doors leading to the inner shrine containing a Sivalingam, tiered shikara above, raised on stand with four bun feet and pierced skirting, 51 x 40 x 26cm
Provenance: Private collection, London. Acquired Christie’s South Kensington, 10 June 2013, lot 167
£2,500-3,500
A LARGE PAINTED WOOD PANEL, ORISSA ( NOW ODISHA), EASTERN INDIA, LATE 19TH CENTURY depicting Ganesha, the elephant headed deity seated within an arched and domed shrine, two diminutive figures of rats at his feet, paired kirtimukhas and green parakeets in the spandresl, five roundels above and below with vignettes depicting various scenes with Hindu deities, a further cusped arch at the top containing a pair of mythical lions, a pair of angels in the spandrels, surrounded by a border with projecting bosses alternating with paired elephants and cows, 178 x 84cm
£2,000-3,000
209
A CARVED WOOD CEILING PANEL, KASHMIR, 18TH/19TH CENTURY
of long rectangular form, carved in relief with central rosette framed by a stylised leafy roundel within an oval medallion containing vigorously worked intertwined acanthus, iris and leaf motifs, the corners with similar quarter roundels, 214 x 88cm £2,000-3,000
210
A MUGHAL JADE HILT, NORTHERN INDIA, 18TH CENTURY
pistol-grip form, the surface carved in low relief with superimposed floral sprays on either side, acanthus motifs at the top and base, mounted, 13cm high
£2,500-3,500
211
TWO KASHMIR PAPIER MACHE PEN BOXES, 19TH CENTURY
each with sliding compartment, the exteriors painted with black nastaliq calligraphy on gold and mottled low relief ground, 29.5; 25cm long
Provenance: Private collection, London. The text on each box is the same Persian poem:
This pen box is admired by kings, It is an orchard of designs and images, At the head of the throne [it is] the emir and the vizier, It gives splendour like the shining moon. Whoever takes a pen from it in his hand, Shall have all glory, rank and strength.
£200-300
A KASHMIR POLYCHROME PAINTED AND LACQUERED WOOD TRIPOD TABLE, CIRCA 1880
the circular lobed top with bevelled edges, spiral twist shaft and scrolling feet, the top with a central floral roundel, surrounded by a radiating design of panels containing demons, princely figures and birds on densely decorated floral ground, the lower parts similarly decorated with multiple floral forms, 66cm high; 46cm diam.
£1,000-1,500
A VIZAGAPATAM ‘COTTAGE’ WORK BOX, SOUTH-EASTERN INDIA, EARLY 19TH CENTURY
sandalwood with ivory and horn veneer, silver mounts, the sides engraved and filled with black lac, depicting windows and a garden with figures approaching the door, the hinged lid with chimney and roof, bordered with chinoiserie decoration, the interior with horn edging, with various compartments and catch for ‘secret’ side drawer, 13.5 x 16.7 x 11cm
For a closely related work box in the Victoria and Albert Museum, London, see Jaffer 2001, p.206
Ivory Submission: 5P5TJTGF
£2,000-3,000
AN OTTOMAN SCRIBES BOX, ANATOLIA, 19TH CENTURY
with bevelled hinged lid, on bracket feet, the exterior overlaid with mother of pearl and tortoiseshell geometric panels, framed with bone and wood bands, brass mounts, 20 x 30 x 19.5cm
£400-600
AN EBONY TABLE CABINET, GUJARAT, WESTERN INDIA, CIRCA 1700
ebony with ivory inlay, the exterior with simple double cartouche design, the sides with twin gilt brass handles, the drop front revealing seven drawers with brass handles, 29 x 42.8 x 31.5cm
Ivory Submission: G12NS9CW
£2,000-3,000
A PAINTED AND LACQUERED WOOD CASKET, LATE SAFAVID OR ZAND, PERSIA, 18TH CENTURY
of rectangular form, the hinged lid opening to reveal compartments with sliding lids and a removable tray with geometrically arranged subsidiary compartments, the exterior with lower drawer opening on one side with similar lidded compartment, polychrome and gold decoration with figural and arabesque designs on painted faux wood ground, the interior of lid with a scene of figures carousing in a garden, brass mounts, 21 x 38 x 24.4cm
£1,000-1,500
218
217
A SMALL LIMEBOX IN THE FORM OF A MANGO, INDIA, CIRCA 1800 tinned bronze, with hinged opening and crown shaped suspension loop, 8.2cm long
£50-80
A CARVED AND TURNED BLACK MARBLE SURAHI, NORTHERN INDIA, 19TH CENTURY
with globular body, flared rim foot and ridged flared neck, 31cm high
George Watt, in his catalogue to the Delhi Exhibition of 1903, refers to objects carved in black marble from Jaipur and Madurai and a vase of similar form, with lid, unfortunately not identified, is shown amongst an assemblage of stone objects. See Watt 1903, pl.17.
£300-400
219
A FAMILLE ROSE HUQQA BOTTLE, CHINA FOR THE INDIAN MARKET, 19TH CENTURY
of bell shaped form, the sides decorated with polychrome floral sprigs, a cloud collar band above, topped with ridged flared neck, 18.5cm high
£600-800
220
AN ENAMELLED COPPER-GILT BOTTLE (SURAHI), KASHMIR, 19TH CENTURY
of flattened bulbous form, with ridged gently flared neck, decorated with turquoise, green and blue enamelled roundels with boteh motifs, 27cm high
This type of metalwork, although distinctively Kashmiri, shows unmistakable Persian influence. For a particularly spectacular example of Kashmir enamelled copper gilt, a Hindu domestic shrine, in the Jhaveri collection, see Pal 2008, fig.207
£300-400
221
A CARVED WOOD FEMALE FIGURE, KERALA, SOUTH INDIA, 18TH/19TH CENTURY
her remaining right arm raised, wearing necklace, earrings, and arm-band, her hair tied in a bun to one side, traces of polychrome, hollowed with rectangular openings at the back, mounted, 61cm high
£800-1,200
223
A
222
TWO
PAINTED WOOD FIGURES OF AVATARS OF VISHNU, KONDAPILLY, SOUTH INDIA, 19TH CENTURY
depicting Narasimha and Kalki, the lion and horse avatars respectively, 21.5; 19.5cm
£400-600
PAIR OF CARVED AND PAINTED WOOD FIGURES, PROBABLY KONDAPALLI, EASTERN DECCAN, INDIA, CIRCA 1880
comprising a bearded man wearing a turban and coat, holding a staff, and a woman holding a cut melon, each standing on square bases, 19cm; 18cm
Figures of this type were made from a wood called tella puniki and were used for educational purposes to be displayed in museums, demonstrating the characters and deities of India, and later they were made as mementoes for the expatriate community. For a pair of later examples in the National Handicrafts and Handlooms Museum, New Delhi, see Jain & Aggarwala 1989, p.202.
£400-600
224
A JAVANESE COUPLE, INDONESIA, 19TH CENTURY
carved and painted wood with gilt, the man wearing a coat with high collar and sarong, the woman wearing kebaya and sarong, each standing on circular base, 28cm; 26cm
These unusual figures were probably produced as educational exhibits or simply as ornaments during the Dutch colonial period.
£600-800
225
A GILT-EMBOSSED LEATHER AND WOOD BOX, PROBABLY ITALY, 19TH CENTURY
with maroon watered silk lining, decorated in Islamic style with recessed arabesque medallion designs framed by stylised columns, the lid with elaborate monograph, 16.8cm high; 12cm max. diam.
£300-400
226
A COLLECTION OF SEVENTEEN QAJAR PURSES, PERSIA, 19TH CENTURY
in various shapes, including five in polychrome beadwork, six with gilt-metal thread embroidery on velvet or woven cloth, three in reclaimed silk brocade and three in woven cloth, mounted in four frames, 5.5cm-23cm
£1,000-1,200
227
A COLLECTION OF MUSLIM HATS, TURKEY, IRAN AND SOUTH ASIA, 19TH-20TH CENTURY
embroidered silk and cotton, four with gilt metal thread, one of columnar dervish type, the others of circular, shallow domed form, with geometric and stylised floral designs, mounted, 23cm high and smaller
£1,000-1,500
A SILK EMBROIDERED PANEL, AZERBAIJAN, 18TH CENTURY
of square form, decorated with semi-abstract geometrical and stylised foliate motifs, stitched to muslin lining
For a closely related cloth in the Azerbaijani National Carpet Museum, Baku, see inv. no. 9483
£1,500-2,500
229
A SILK EMBROIDERED KERCHIEF, AZERBAIJAN, CIRCA 18TH CENTURY
of square form, the polychrome design composed of alternating spiral and star motifs on gold ground, a thin border of scrolling leaves and fruit, magenta satin lining, 48cm square
£300-400
230
A HANDWOVEN WOOL PILE SADDLE CLOTH, PERSIA, 19TH CENTURY
of elongated octagonal form, depicting a portrait of Shah, wearing uniform with nastaliq inscribed band below, flanked by a pair of lions, framed with a floral border, 72 x 117cm
The inscription reads al-sultan nasir al-din shah qajar, ‘’The Sultan Nasir al-Din
Shah Qajar’
£1,500-2,000
231
A SILK EMBROIDERED COVER, AZERBAIJAN, 18TH CENTURY
of rectangular form, the central panel with stylised tulip design framed by yellow border containing semi-abstract flower and leaf motifs, surrounded by a wide band of floral chevrons and a further yellow border, lined, 91 x 69cm approx.
£400-600
A BANJA LUKA APPLIQUE FELT MIHRAB PANEL, OTTOMAN BALKANS, 19TH CENTURY
polychrome felt applique with metal thread embroidery, of rectangular form with styllised canopied central arch motif filled with an overflowing flower vase, spiral columns on either side, surrounded by a wide border of s-shapes alternating with floral sprays, mounted on stretcher, 171.5 x 113cm
For another panel, of slightly earlier date, in the same technique, see Taylor 1993, p.140-141
£800-1,200
233
AN OTTOMAN BROCADE SILK PANEL, 17TH CENTURY
of rectangular form, composed of several fragments stitched together, with a reticulated design of floral medallions within a trellis of lotus, carnation and rosette festooned tendrils, mounted on stretcher, 80 x 60cm
£500-700
234
AN OTTOMAN WOVEN SILK CALLIGRAPHIC PANEL, CIRCA 17TH CENTURY
with white thulth script on green ground forming a chevron design, mounted and framed, 91 x 71cm
£600-800
AN OTTOMAN EMBROIDERED SILK COVER, 18TH CENTURY
of circular form, with silver goil and polychrome chainstitch decoration on ochre ground, the central roundel with rosette surrounded by radiating carnation sprays, two further concentric bands with further carnation sprays, pink satin lining, 148cm diam. approx.
For a silk panel with related roundel design, see Baker 1995, p.159
£800-1,200
A RARE SARYK MAIN CARPET, SOUTH-EAST TURKMENISTAN, LATE 18TH OR EARLY 19TH CENTURY
the dark madder field with four columns of eight tmerjin guls quartered in apricot and white, secondary Memling guls, outlined in dark blue or sea green, within a stepped and boxed gul border, approximately 262 x 219cm
Provenance: The property of a nobleman, sold Christie’s London, 28th April 2005, lot 71; Sold Christie’s London, 8th October 2013, lot 22, when purchased by the present owner
Published: Hali, Issue 178, p. 135
When published by Hali, op.cit., they noted: “A rare, early example of Saryk Turkmen main carpet weaving from Central Asia, probably dating to the earliest period of migration into the Merv Oasis, circa 1780-1800. [….] Of all extant Turkmen weavings, those of the Saryk may be the rarest, as the tribe was smaller and less powerful than others with whom they competed for prime pasture land. The temirjin göl has been thought to represent many things, perhaps incorporating the idea of fish, as well as birds, into the design. […] Subdivided into two groups, Saryk main carpets are rare. In our records there are fewer than twenty main carpets as well as a number of smaller fragments with the temirjin göl. Earlier examples usually have 8 x 4 or 9 x 4 primary göls, and the ‘dragon’ brackets at the sides of the göls have a long vertical stem and a single animal head at the ends. They have ‘Memling’ secondary güls and the multiple square main border seen here.”
An example with similar field and border design is published in ICOC 1993, No. 104. pp. 156-7. For related examples see also Loges 1980, No. 24 and Pinner 1993, p. 23, no. 2. Related examples at auction include Rippon Boswell A99, 5th December 2020, lot 101; A98 27th June 2020 lot 50 and Sotheby’s New York, 1st October 2015, lot 38.
£5,000-10,000
237
A KARAPINAR KILIM, CENTRAL ANATOLIA, PRE 1800
the ivory field woven in two parts each with a column of three polychrome stepped medallions with pairs of large hooks, overall small stepped cruciform guls, crenellated side borders, large gul end panels, approximately 405 x 150cm
Published: Eskenazi 1984, pl. 10
£2,000-4,000
238
A SHAHSAVAN KILIM, AZERBAIJAN, LATE 19TH CENTURY
the field banded in shades of ivory, dark brown, saffron, madder and indigo, approximately 359 x 165cm
£800-1,200
A KHOTAN CARPET, EAST TURKESTAN, EARLY 19TH CENTURY
the madder field with a tiled design of cloud collar medallions enclosing Moghul style blossom sprays, interspersed with star guls on madder and pale salmon grounds, mountain and cloud inner border, pale saffron outer border with flowerheads, interlocking ‘T’ fret surround, approximately 329 x 178cm Khotan was an oasis kingdom, on the Southern Silk Road which thrived until the 14th century. Although this rug dates from the early 1800’s, its design reflects the various cultural influences that overland trade disseminated along this ancient trading route, with its syncretic mix of Chinese and Mughal Indian iconography.
£6,000-9,000
A ERZERUM KILIM, NORTH EAST ANATOLIA, MID 19TH CENTURY
the jade green field with four red stylised architectural motifs, enclosing small plants, and flanking two cypress trees, blossoming shrubs and small guls, all within a broad pale melon border of polychrome rosettes and with an interlinked hexagonal gul surround, cotton whites, approximately 212 x 170cm
Published: Frauenknecht 1982, ill.22; Rippon Boswell, A26, 14th November, 1987, lot 143; Rippon Boswell, A89, 28th May, 2016, lot 125
For related examples see Volkmann 1985, no. 35; Bausback 1983, pl. 70
£4,000-6,000
A NINGHSIA CARPET, NORTHWEST CHINA, 19TH CENTURY
the safffron yellow field with a small central rosette withing a ring of blossoms and fretwork drragons, overall large blossom sprays with angular leafy vinery, all in shades of ivory, taupe, pale salmon and indigo, pearl and reciprocal T fret inner borders, coffered fretwork main border and indigo surround, approximately 400 x 290cm £3,000-4,000
242
A KONYA KILIM, CENTRAL ANATOLIA, PRE 1850
the madder field with three polychrome concentric zig-zag and reciprocal hook medallions, the field scattered with large S-motifs, guls and a stylised flower, geometric end borders, reciprocal surround, ivory end panels with polychrome elibelinde-style motifs, woven in two parts, approximately 368 x 136cm
Elibelinde is Turkish for “hands on hips” and is a motif derived from Anatolian mother goddess figurines. Variations of the motif are widely used on Anatolian kilims. Traditionally the motif symbolises motherhood and fertility, and female power.
£3,000-5,000
243
A NINGHSIA TANTRIC RUG, NORTHWEST CHINA, MID 19TH CENTURY
the figure against a soft donkey brown ground, his hands and feet breaking into a camel coloured border of smiling faces and cloudbands, approximately 188 x 125cm
This rug is an expression of the Buddhist pursuit of bodily detachment. Depicting a flayed man, the rug, together with associated ritual utensils, would have been used in the enactment of Esoteric rites associated with protective deities, to celebrate the power of detachment from the corporal body that advanced Buddhist practitioners strive to attain.
£3,000-4,000
A YOMUT MAIN CARPET, WEST TURKESTAN, SECOND HALF 19TH CENTURY
the dark madder field with overall rows of Kepse guls, within an ivory stepped gul and angular vine border to the sides and stepped bul and bracket end borders, the lower elem with large trees and the upper elem with polychrome guls, approximately 315 x 175cm
Provenance: Phillips London, 18th October, 1988, lot 23 where purchased by the present owner £800-1,200
A PISKENT SUZANI, UZBEKISTAN, PRE 1850
densely embroidered overall, mainly in silk, with wool details, with a large central star and whirligig flower head, similar flowerheads to each corner, interspersed with slightly smaller roundels with polychrome centres and radiating petals, smaller flowerheads and palmettes overall, leaf trail border, approximately 272 x 207cm
Piskent is an area of the Tashkent region in Uzbekistan. This example of a Piskent suzani has a particularly dynamic and joyful design in which the yellow outlines and motifs animate the field to create a vibrant composition.
£6,000-8,000
246
AN OTTOMAN SHELF COVER, 18TH CENTURY
silk embroidered linen, with a design of floating stylised flowers and leaves in red, magenta, orange, salmon pink, two shades of blue, yellow white and two shades of green, on buff ground, a thin blue border on three sides, 206 x 38cm
£2,000-3,000
247
AN IKAT PANEL, BUKHARA, UZBEKISTAN, 19TH CENTURY
the crimson silk and cotton ground composed of four narrow widths each with a pattern of ascending stylised flower-filled vases in yellow and white, flanked by hooked boteh in blue and green, approximately 240 x 149cm
£3,000-5,000
A SILK AND METAL THREAD WOVEN CALLIGRAPHIC PANEL, NEAR EAST OR NORTH AFRICA, 18TH CENTURY
of rectangular form, the striped design comprising registers of gold calligraphy on buff ground, alternating with bands of red rosettes linked with leaf forms, each divided with slender chevron border, mounted, 78 x 93.5cm
The inscription reads malbus al-’afiya, ‘wear [it] well’. For a very similar fragment formerly in the Mahboubian collection, see Mahboubian 1970, front cover. A related textile fragment with the same inscription was sold in the same year at Sotheby’s, 6 April 2011, lot 349.
£5,000-7,000
248 (detail)
AN UNUSUAL LARGE POLYCHROME PAINTED CLOTH HANGING (PICHHAVAI), RAJASTHAN, EARLY 20TH CENTURY
of rectangular form, depicting Sri Nath Ji in a central panel, flanked by smaller panels depicting a male priest with an oil lamp and a female devotee holding an offering, each in small panels on either side, surrounded by a decorative grid of squares containing lozenge motifs, lined, 240 x 233cm
Provenance: Formerly in a North German private collection, acquired in 1950
£2,000-3,000
A JAIN PILGRIMAGE HANGING (PATA), GUJARAT, CIRCA 1900
depicting the sacred Jain site of Shatrunjaya, pigment with gold on cotton, depicting a large walled temple complex surrounded by stylised mountains, the primary shrine labelled with indistinct inscription in devanagari, the walls encircled by a long winding road filled with pilgrims on foot or riding animals, passing numerous small shrines on their way, modern green cotton lining, 209 x 178cm
For a similar Jain painted cloth hanging, depicting Shatrunjaya hill, Palitana, Saurashtra, in the British Museum, see inv. no. 1992,0411,0.1.
See also Talwar & Krishna 1979, nos.100-101, p.85-86 (illus. pls. 87-88), and Pal 1994, no.117.
£2,000-3,000
THE
GEOFFREY SABA COLLECTION LOTS 251-273
The concert pianist and collector Geoffrey Saba was born in Australia in 1946, and established his musical career after moving to London in the late sixties. His concert tours included successive trips to Java, which he first visited with Delphine, his late wife, in 1968, sparking a shared life-long passion for art and travel in the region.
251
A MODEL BOAT, MOLUCCAS (MALUKU), INDONESIA, EARLY 20TH CENTURY
made of numerous individual clove buds stitched together, the decks made of wood, with three masts, various riggings and sails, and stylised figures on the decks, modern stand and display case, 40 x 63 x 20cm approx.
£400-600
252
THREE JAVANESE BRONZE HANGING LAMPS, INDONESIA, CIRCA 14TH CENTURY
each with tray in the form of an ogival medallion, wick spouts at each end, arched suspension loop, one with loose chain and plump figure at the centre, 15.5cm high and smaller
£400-600
253
A JAVANESE BRONZE HANGING AMRTA VESSEL, JAVA, INDONESIA, CIRCA 10TH CENTURY
of bun-shaped form, the domed lid with repousse relief flame motifs, twin chain attachments and associated hanging hook, 18cm high; 22cm diam. excluding chain
Provenance: Private Collection, London, acquired in these rooms 24 November 2021, lot 256. Previously property of a deceased diplomat, thence by descent.
£400-600
254
A MAJAPAHIT BRONZE FIGURE OF A WOMAN, JAVA, CIRCA 14TH CENTURY
wearing spiralling headdress, kneeling with an animal on her lap, 11.5cm
£300-400
255
TWO BRONZE ZODIAC BEAKERS, EASTERN JAVA, 14TH CENTURY
each of gently flared cylindrical form, with figural designs in low relief comprising the twelve zodiac symbols below and the symbols of the Javanese solar months (mangsa) above, one with a figure of an animal in relief inside, the other with a floral motif, each with plaque bearing date with bird motif below on one side, 11.5cm; 10.5cm high
For two very nearly identical beakers, one dated Saka 1253/1331 A.D. the other dated Saka 1254/1332 A.D. in the Linden Museum, Stuttgart and the Norton Simon Museum, Pasadena, see Lohuizen de Leeuw 1984, no.92, p.126 and Pal 2004, no.77, p.94-95. The two dates have been tentatively read: 1254 (taller beaker) and 1256 (smaller), which approximates to 1332 and 1334 respectively.
£600-800
A FRAGMENTARY JAVANESE BRONZE FIGURE OF PARVATI OR BHU-DEVII, INDONESIA, 9TH CENTURY
standing erect, wearing earrings, crown and tall headdress, multiple belts and sarong around her waist, mounted, 24cm high
Provenance: Spink and Son, London, 1978
Published and Exhibited: Indian and South-East Asian Art, Spink and Son, London, 24 May-7 June 1978, p.66-67, pl.161; offered Sotheby’s New York, 21 March 2012, lot 247.
£2,000-3,000
A JAVANESE FRAGMENTARY ANDESITE BUST OF VISHNU, PROBABLY MID-9TH CENTURY
wearing tall headdress, tiara, necklace and pendent earrings, a conch shell held at his left shoulder, mounted, 37cm
Provenance: Acquired at auction in London, c.2010
For a figure of a bodhisattva in the temple of Candi Plaosan, Java, in closely related style, see Bernet Kempers 1959, pl.135.
£800-1,200
A JAVANESE ANDESITE FIGURE OF GANESHA, INDONESIA, 10TH-11TH CENTURY
The four-armed, elephant-headed pot-bellied deity seated with soles together on a cushion, his broken tusk and a bowl of sweets in his primary hands, wearing elaborate crown, surrounded by a halo, 57cm high
Provenance: Acquired at auction in the Netherlands or Germany about ten years ago.
£1,200-1,800
259
A PARCEL GILT SILVER TOBACCO BOX, SUMATRA, INDONESIA, 18TH/19TH CENTURY
of elongated octagonal form, the slightly concave hinged lid set with bosses, the sides with chased and repousse vegetal decoration, a line of jawi script along the top at the front, the underside with twelve further lines of jawi on either side of a foliate urn motif, the interior with two compartments with removable divider, 3.7 x 12 x 5cm
The inscriptions are difficult to read, but have been translated: This states that this is the tobacco box of the head of the district of […], the value of the silver is twenty rupiah, the gold is ten loose riah, and the workmanship is six loose riah. It was completed at the beginning of the month of Ramadan; the maker is Tuan Raja Alisu Syartu, the head of […] it was he who made it; and God knows best. (base); The one who wrote this is the son of a person of Siakumu Siak[?] (front edge) (Trans: A. T. Gallop on behalf of the vendor)
£250-350
260
A BRONZE RITUAL BELL, EASTER JAVA, INDONESIA, CIRCA 14TH CENTURY
The handle with protruding disc ridges, the dome with leaf decoration in relief, the finial in the form of a cakra, 18cm
Provenance: Acquired by the vendor at auction in the Netherlands in 2017.
The cakra finial is less often seen that the usual vajra. For another example with this type of finial, in the Linden Museum, Stuttgart, see Lohuizen de Leeuw 1984, fig.81
£250-350
A BERGAMA
CARPET, WEST ANATOLIA,
LATE 19TH CENTURY
of ‘Ghirlandaio’ design, the madder field with two large ‘Ghirlandaio’ medallions, stepped indigo partial medallions and spandrels, within a dark walnut border of stepped guls and curled vinery, approximately 303 x 176cm £800-1,200
262
A TENGANAN COTTON IKAT SCARF, INDONESIA, 19TH
CENTURY
of long rectangular form, with tasselled ends, decorated in red and reserved buff on black ground, three medallions depicting stylised temple plans, surrounded by stylised figures, plants and architectural forms, 212 x 42cm
£250-350
263
A TENGANAN COTTON IKAT SCARF, INDONESIA, 19TH CENTURY
of long rectangular form, with tasselled ends, with ‘eggplant seed’ design, worked in russet, black and buff, 202 x 41cm
£250-350
264
AN IBAN CEREMONIAL CLOTH, BORNEO, CIRCA 1900
supplementary weft cotton, of long rectangular form, the decoration composed of composite lozenge motifs, framed by meandering stylised snake motifs, plain tasselled ends, 258 x 59cm
For an ceremonial vest with closely related decoration in the Thomas Murray collection, see Murray 2021, fig.3.65, p.255
£400-600
265
A SARITA CLOTH, SULAWESI, INDONESIA, CIRCA 1900
cotton, of very long rectangular form, with reserved ochre decoration on black ground, comprising a series of rectangular and square panels with stylised flower, scroll, seed and leaf designs, 705 x 30cm
Provenance: Joss Graham Gallery, London
A sarita is a ceremonial banner. For related examples in the Thomas Murray collection, see Murray 2021, figs. 4.32-4.34, p.308-313.
£500-800
266
A SILK BROCADE SONGKET SARONG, KALIMANTAN, BORNEO, INDONESIA, CIRCA 1900
sewn into a tube, maroon based polychrome tartan cloth, with gilt thread decoration comprising multiple vertical bands of floral, leaf, abstract and star motifs, 94 x 94cm
£400-600
267
A SILK BROCADE SONGKET SARONG, KALIMANTAN, BORNEO, INDONESIA, CIRCA 1900
sewn into a tube, maroon based polychrome tartan cloth, with gilt thread vertical bands of multiple scroll stripes, 114 x 101cm
£400-600
268
A SILK BROCADE AND BATIK GRESIK, INDONESIA, 19TH CENTURY
of long rectangular form, the field with ‘blurred stripe’ design in white and purple, the ends with gilt brocade twin borders of geometrical stylised vegetal design, plain purple bands at either end, 289 x 104cm
£250-350
TWO ABACA FIBRE IKAT CLOTHS, MINDANAO, PHILIPPINES, 20TH CENTURY
each of long rectangular form, the larger bearing label attributing it to the Tiboli tribe, the decoration comprising six vertical bands of repeating abstract and stylised vegetal motifs in russet and white on black ground, 1210 x 57cm approx., the other bearing label attributing it to the Mandana tribe, South-Eastern Mindanao, worked in red, white, black and gold, with tiers of stylised human figures and turtles with abstract motifs in white on black ground, vertically interspersed with multiple polychrome bands of stripes, 352 x 73.5cm
Provenance: purchased from the director of the Manila Museum, c.1980 Abaca is a leaf fibre, produced from a relative of banana plants.
£300-500
270
A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY
woven russet, black and ochre cotton, with stylised design of animals on a ship amidst abstract geometrical motifs, further human and animal figures on either side, multple abstract borders above and below, 71 x 58cm Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper. Almost all families would have possessed a few of these cloths which were used for display at family ceremonies such as marriage and had a variety of functions including being used to cover food. For other Sumatran ceremonial textiles with stylised ship designs, see Gittinger 1985, pp.89-93.
£200-300
271
A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY
woven ochre and indigo cotton, with stylised design of two superimposed animals, probably turtles, amidst abstract motifs, tasselled ends, 76 x 70cm
£200-300
272
A BATIK SILK PRADA SCARF, BALI, INDONESIA 19TH CENTUTRY
of long rectangular form, with tasselled ends, the inner panel decorated with a gold applique scrolling flower design on russet ground, surrounded by an ochre field with intricate black painted meandering floral tendrils and repeated stylised birds, hatched border at each end, 344 x 55cm
£300-500
273
A
WARP IKAT CEREMONIAL CLOTH, PROBABLY SUMBA, INDONESIA, CIRCA 1900
cotton, of long rectangular form, composed of two long cloths stitched together, with tasselled ends, worked in russet, white and black, the central zigzag band, flanked by mirrored registers of styllsed figures and abstract motifs, the decoration at each end terminating in a row of sharp points, striped borders along each long edge, 360 x 115cm
£300-400
VARIOUS PROPERTIES
274
A SILK LAWON, PALEMBANG, SUMATRA, INDONESIA, 1850-1900
of rectangular form, handwoven silk, resist dyed with tritik process, the abstract design comprising a pale green rectangle on crimson ground, mounted on stretcher, 198 x 84cm
£600-800
275
A SILK LAWON, PALEMBANG, SUMATRA, INDONESIA, 1850-1900
of rectangular form, handwoven silk, resist dyed with tritik process, the abstract design comprising an orange rectangle on maroon ground, mounted on stretcher, 206 x 74cm
£600-800
A SILK LAWON, PALEMBANG, SUMATRA, INDONESIA, 1850-1900 of rectangular form, handwoven silk, resist dyed with tritik process, the abstract design comprising a maroon rectangle on crimson ground, mounted on stretcher, 198 x 89.5cm £600-800
277
A PAIR OF TRADITIONAL THAI SCISSORS, 19TH CENTURY
steel with silver damascened foliate decoration, the twin blades surmounted by stupa finial, mounted, 29.8cm high
Scissors like this were used for cutting hair and other domestic uses. For some similar, but less elaborate examples, see Warren & Tettoni 1994, fig.91, p.78
£300-400
278
A GROUP OF FOURTEEN SOUTH-EAST ASIAN POTTERY LIDS, MOSTLY KHMER, CIRCA 12TH CENTURY
each with bud-shaped handle, 8.7cm and smaller
Provenance: formerly collection of a deceased diplomat.
£300-400
279
A TERRACOTTA VOTIVE PLAQUE, MON-DVARAVATI, THAILAND, 8TH/9TH CENTURY
moulded in relief, depicting Buddha, seated in sattvasana on a lotus throne, surrounded by a fiery prabha, 16cm high
Provenance: formerly collection of a deceased diplomat.
£100-150
A
LAN NA
BRONZE FIGURE OF BUDDHA, THAILAND, CIRCA 15TH CENTURY
on a lotus throne on raised pierced plinth, seated in padmasana, his hands in bhumisparsa and dhyana mudra, his tightly curled hair surmounted by bud finial, 37.5cm
For other Buddha images in similar style in sites in Thailand, see Woodward 1997, figs.209-211, p.216-217.
£1,500-2,500
281
FIVE SHEET GOLD FRAGMENTARY PLAQUES, THAILAND, 8TH-13TH CENTURIES
repousse relief, comprising one Mon-Dvaravati and two Baphuon depictions of Buddha, and two others, together with an undecorated gold fragment, 9.5cm average size
Provenance: Collection of a deceased diplomat, thence by descent.
For related Mon-Dvaravati plaques in the Norton Simon Museum, see Pal 2004, nos. 85-87, pp.118-119.
£800-1,200
A JAVANESE GOLD REPOUSSE PLAQUE, INDONESIA, CIRCA 12TH CENTURY
depicting a procession, with a princely figure riding on an elephant, accompanied by horsemen, with attendants walking behind, three celestial figures in the clouds above, mounted, 12 x 17.5cm
£1,000-1,500
283
A RATNAKOSIN LACQUERED GILT BRONZE FIGURE OF PHRA MALAI VISITING HELL, THAILAND, 19TH CENTURY
wearing brocaded robes, standing on a lotus, his left hand raised to his chest, originally holding a fan, his begging pot hanging from his right shoulder, numerous underworld figures clambering on the plinth below, 44cm high
Provenance: Formerly in a Belgian private collection
According to the legend, Phra Malai was a Buddhist monk who acquired so much merit that he had the powers to visit both heaven and hell. He subsequently returned to earth and began to preach that our actions in life would lead to either future suffering or to happiness. He was particularly popular in Thailand in the 19th century.
For two closely related examples in the Asian Art Museum of San Francisco, see inv. nos. 2006.27.37 & 2008.80.a-.b
£700-900
284
A BRONZE STANDING FIGURE OF BUDDHA, AYUTHIA, THAILAND, 16TH/17TH CENTURY
standing with his right hand raised in abhaya mudra, his left at his side, holding the hem of his robes, wearing earrings, flared crown with usnisa in the form of a stupa, mounted, 32.5cm
This slender form of Buddha with the flared crown is typical of the Ayuthia style. For a closely related example in the National Museum, Bangkok, see Boisselier 1975, fig.129, p.169. See also Woodward 1997, pl.248, p.251, for a similar example in the Griswold Collection (Walters Art Gallery, Baltimore).
£500-700
285
A PYU GILT BRONZE HEAD OF BUDDHA, BURMA (NOW MYANMAR), 8TH/9THCENTURY
with elongated earlobes, the tightly curled hair with domed usnisa, mounted, 9cm high
Provenance: formerly collection of a deceased diplomat.
For a more complete, but ungilded, closely related Pyu figure of Buddha in the Metropolitan Museum of Art, New York, see inv. no. 2006.53. The Pyu kingdoms flourished in Northern and Central Burma for about 1000 years until their primary capital, Halin, was sacked by the Chinese in 832.
£600-800
286
A BAYON BRONZE HEAD OF THE BODHISATTVA AVALOKITESVARA, CAMBODIA, 12TH CENTURY
his elongated earlobes with pendent earrings, a diminutive figure of Buddha seated on the top of his head, mounted, 10.5cm high
£800-1,200
287
A PARCEL GILT SHEET SILVER HEAD OF A DEITY, JAVA, CIRCA 18TH CENTURY
wearing elaborate twin-peaked headdress, and tiara and earrings, his face gilded, with moustache and raised eyebrows, 3.5cm high
Provenance: Collection of a deceased diplomat, thence by descent.
£100-150
288
A SMALL BRONZE FIGURE OF A KINNARA, JAVA, INDONESIA, 9TH-10TH CENTURY
probably from a hanging lamp, the half human-half bird figure standing on a domed base, wearing elaborate crown and headdress and large earrings, his hands at his chest, a fold of his tunic in his left hand, his cockerel tail raised at the back, mounted, 11cm high
Kinnaras are celestial deities, part human, part bird, particularly popular in Buddhist South-East Asian art. Along with their female equivalents, kinnaris, they are particularly associated with music. For a similar bronze depicting the female type from the Samuel Eilenberg collection, see Lerner and Kossak 1991, no.149, p.190.
£800-1,200
289
AN AYUTHIA GILT-LACQUER BRONZE HEAD OF BUDDHA, THAILAND, 16TH/17TH CENTURY
A BRONZE HANGING LAMP, JAVA, INDONESIA, 14TH/15TH CENTURY
in the form of an elephant standing on a plinth surrounded by four oil reservoirs, each with twin wick spouts, two further reservoirs above, held by human figures, a floral parasol at the top with elaborate suspension loop, 36cm high (including remaining chain)
Provenance: Formerly collection of a deceased diplomat, thence by descent. For a similar lamp with a figure of Garuda in the Museum of Asiatic Art (now part of Rijksmuseum), Amsterdam, see Bernet Kempers 1959, pl.307. See also Lohuizen-De Leeuw 1984, pp.170-175, for examples in the Linden Museum, Stuttgart.
£400-600
291
AN IRON FOLDING LECTERN, ETHIOPIA, 19TH CENTURY OR EARLIER
the pierced arched back with serrated edge, Christian crosses protruding in three directions, 60cm high (opened)
£500-800
292
A KALIGHAT PAINTING DEPICTING KRISHNA AND BALARAMA, BENGAL, INDIA, SECOND HALF 19TH CENTURY
in colours on paper, the two figures depicted in characteristic fashion wearing elaborate head gear beneath a leafy tree, framed and glazed, image 37.4 x 24.8cm
A related example from the collection of Graham Slater was sold at Bonhams, 15th April 2025, lot 185.
£800-1,200
293
RAMGOPAL VIJAYVARGIYA (INDIAN 1905-2003)
UNTITLED (2)
watercolour on paper
25.5 x 16.5cm; 25.5 x 15.5cm each signed lower right in Hindi
Ramgopal Vijayvargiya joined the Maharaja school of Art and Craft in Jaipur, studying watercolour wash under S. N. Dey, a disciple of Abanindranath Tagore. Vijayvargiya is best known for paintings with Ajanta-like forms. He drew inspiration from Kalidasa’s plays, the Ramayana and the Mahabharate, the medieval poet Bihari’s Satsai and the Persian poetry of Omar Khayyam and Hafiz.
£1,500-2,500
294
CHITTAPROSAD BHATTACHARYA (INDIAN 1915-1978)
UNTITLED
watercolour, pen and ink on paper
28 x 33cm
signed in Bengali within the composition
Executed in 1952
A self-taught artist, poet, storyteller, and an active member of the Communist party of India, Chittaprosad was inspired by village sculptors, artisans as well as puppeteers. In 1943-44, he experienced the Great Bengal Famine first-hand, resulting in his brutally honest depiction of human suffering in stark drawing and sketches made in pen and ink. Chittaprosad also created landscapes, cityscapes, portraits, female figures, nudes and illustrations for books.
£1,500-2,500
KRISHNAJI HOWLAJA ARA (INDIAN 1914-1985)
UNTITLED (WOMAN) oil on canvas signed ‘ARA’ lower right approx. 75 x 60cm
Provenance: Private UK collection. Anil Relia collection. Sarjan Art Gallery, Baroda. Kanti Rana collection, Baroda. Acquired by the above directly from the artist.
Ara was born in the small town of Bolarum near Hyderabad but ran away to Bombay at the age of seven. As a teenager he was imprisoned for taking part in Gandhi’s Salt Satyagraha movement. Although he had no formal training as an artist he began painting watercolours from a young age. Whilst making a living cleaning cars he met the art critic Rudy von Leyden and later Walter Langhammer who encouraged him to pursue a career as an artist. Ara became an important figure in the development of modern art in India and was a founder member of the Progressive Artists’ Group (PAG) that was formed on the eve of Indian Independence. He had a modernist approach to his work, capturing the experiences and observations of everyday life. His favoured subjects were still lifes and depictions of the human form within a domestic setting. As Yashodhara Dalmia explains Ara ‘was not involved in the anatomy of the figure nor with forms of realism. He was seeking a means of extending his language in colour, form, and composition…’ (Y. Dalmia, The Making of Modern Indian Art: The Progressives, Oxford University Press, New Delhi, 2001, p. 139).
£8,000-10,000
296
FRANCIS NEWTON SOUZA (INDIAN 1924-2002)
PORTRAIT OF A MAN
signed and dated Souza 57 upper right pencil on paper
32.5 x 20cm, 67.5 x 51.5cm (framed)
⊕ £1,000-1,500
297
KRISHNA REDDY (INDIA, B.1925)
BLOSSOM
Signed ‘A. Krishna Reddy’ lower right, further inscribed ‘Blossoming 1965’, and ‘Artist Proof V/X’ Etching on paper unframed, imp. 44 x 34cm
Another from this series was sold at Bonhams, 20th November-5th December 2018, lot 56.
£600-800
ISMAIL GULGEE (PAKISTANI, 1926-2007)
UNTITLED
oil on canvas, laid on board signed and dated ‘Gulgee ‘92’ lower right framed, 30.5 x 53.5cm
Provenance: Gifted to the current owner by a friend who acquired it in Mumbai in 1994. The vendor was a friend of the artist.
£2,000-3,000
SHYMAL DUTTA RAY (INDIA 1934-2005)
UNTITLED
oil on canvas signed and dated in Bengali lower right approx. 75 x 74.5cm
Executed in 1995.
Provenance: Private UK Collection. Acquired directly from the artist Born in 1934 in Ranchi, educated at the Government College of Art Calcutta, Ray was a founding member of the Society of Contemporary Artists. As a child Ray witnessed the horrors of the 1943 Bengal famine that was to have a profound effect on his work. Ray’s paintings possess a sense of melancholy, depicting the plight of the everyday man and addressing the urban decay and stark poverty of Calcutta during the 1970s. His figures are often placed within empty buildings, surrounded by crumbling walls and peeling plaster that can be said to be a commentary on the transient nature of existence. His works represented a turning point in the history of Bengal art, he was a master watercolourist, devising innovative ways of layering the medium to add greater depth and intensity. Throughout his career he received many honours including awards from the Lalit Kala Academy, the Shiromani Kala Puraskar and the Special Commendation of the Karnataka Chitrakala Parishad. His works are in the collection of the National Gallery of Modern Art, Delhi, the Victoria & Albert Museum, London and the Glenbarra Art Museum, Japan.
£10,000-15,000
MALIGNED MONSTERS I
50.5 x 37.4cm
Signed and dated lower right ‘Shahzia Sikander ‘00’, lower left ‘20/40’
Provenance: Purchased from Michael STeinhart Gallery
£800-1,200
300 SHAHZIA SIKANDER (PAKISTAN, 1969-)
301
AMBREEN BUTT (PAKISTANI/AMERICAN B.1969)
34.2 x 26.5cm, framed
Fabric, ink and mixed media
Provenance: Loaned to MFA Boston for exhibition of Ambreen Butt for her award of the 2006 Maud Morgan Prize, November 22nd to December 10th, 1996.
£500-700
302
YAMINI NAYAR (INDIAN/AMERICAN B.1975)
UNTITLED
From the edition of an unknown size
Lightjet print 25 x 19.5cm
Executed in 2013.
£400-600
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IMPORTANT INFORMATION FOR BUYERS
SECTION A
1. INTRODUCTION
The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.
Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. AGENCY
As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.
3. ESTIMATES
Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4 BUYER’S PREMIUM
The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%).
5. VAT
The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.
5.1 Items in our catalogue may be marked in the following ways:
(a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium. VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us.
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(c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax.
5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.
6. REFUNDS OF VAT
6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has:
(a) registered to bid with an address outside the UK; and
(b) discussed with us the proof of export we require and the timeframes to complete the export.
6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:
(a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium.
(b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu in the Buyer’s Premium.
(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium.
6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.
7. REINVOICING SALES
For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.
8. INSPECTION OF GOODS BY THE BUYER
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. GOODS WITH ELECTRICAL COMPONENTS
These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. ENDANGERED SPECIES
If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. EXPORT OF GOODS
If you intend to export goods you must find out:
11.1 whether an export licence is needed; and
11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. BIDDING
Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. BIDDING PLATFORMS
We offer free online bidding directly through our Website (www.olympiaauctions. com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
14. FINANCIAL CHECKS
As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.1 You may be asked for further information if we deem this necessary.
14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. COMMISSION BIDDING
You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.
16. METHODS OF PAYMENT
16.1 Online: Payment can be made at www.olympiaauctions.com/payments.
16.2 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.3 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
16.4 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
16.5 Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.6 Debit card payments in person: Payments are without limit.
17. COLLECTION AND STORAGE
Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. POTENTIAL CANCELLATION RIGHTS
If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
CATALOGUING PRACTICE
SECTION B
1.
Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. CERAMICS
Obvious faults may be recorded in italics at the end of a description for ceramics.
3.CLOCKS AND WATCHES
All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. DISPLAY ACCESSORIES
Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. FIREARMS
Please note that all bore sizes are approximate.
6. JEWELLERY
It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need reoiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. PHOTOGRAPHS
In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
All photographs are sold unframed unless stated otherwise in the Lot description.
8. PICTURES
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.
(b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence.
(d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date.
(f) “After”: means in our opinion a copy (of any date) of a work of the artist.
(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
9. SILVER, GOLD AND PRECIOUS METALS
Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.
10.
THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:
(a) () indicates a Lot with no Reserve.
(b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.
(c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.
(e) (○) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot.
(f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements.
(g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID.
(h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.
Auction Calendar Autumn 2025
Autumn 2025
Olympia Timed Sale: 29th August - 7th September
From the Studio: Works from Artists’ Estates
Live sale: 8th October 12pm
Paintings, Works on Paper & Sculpture
Olympia Timed Sale: 3rd - 12th October
Modern and Contemporary African and Middle Eastern Art
Live sale: 29th October - 12pm
Chinese and Japanese Works of Art
Live sale: 5th November - 11am
Indian, Islamic, Himalayan and South-East Asian Works of Art
Live sale: 12th November - 11am
Indian, Islamic, South East Asian and Himalayan Works of Art
Olympia Timed Sale: 7th - 16th November
European Works of Art, Objects & Silver
Live sale: 19th November - 11am
Jewellery & Watches
Live sale: 20th November - 11am
Fine Antique Arms, Armour & Militaria
Live sale: 3rd December - 11am
Antique Arms, Armour & Militaria
Olympia Timed Sale: 28th November - 7th December
Fine Paintings & Works on Paper
Live sale: 10th December - 12pm
Please note sale dates are subject to change enquiries@olympiaauctions.com | https://www.olympiaauctions.com
25 Blythe Road, London WI4 0PD
ABSENTEE BID FORM
OLYMPIA AUCTIONS
SALE TITLE: INDIAN, ISLAMIC, HIMALAYAN AND SOUTH-EAST ASIAN ART
DATE: 4 JUNE 2025
CODE: OA0161
Please mail, fax or scan and email to: Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546
Email: enquiries@olympiaauctions.com
Important
Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.
I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.
Methods of Payment
Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.
Online: www.OlympiaAuctions.com/payments
Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG
IBAN No: GB39HBUK40190422033119
BIC: HBUKGB4B
Sort Code: 401904
Account No: 22033119
Account Name: Olympia Auctions
Sterling Bankers Draft: Drawn on a recognised UK bank.
Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
Credit Card payments in person: Payments above £6,000 cannot be accepted.
Debit card payments in person: Payments are without limit.
Please print or type
Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address. Name
