25 Blythe Road

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25 Blythe Road | London’s Specialist Auctioneers Arthur Millner

ISLAMIC, INDIAN, HIMALAYAN & SOUTH EAST ASIAN WORKS OF ART, INCLUDING GREEK ISLAND AND COPTIC TEXTILES

Thursday 11th June 2015

www.25BlytheRoad.com

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AUCTION ENQUIRIES AND INFORMATION Enquiries: Arthur Millner Kate Goad 25 Blythe Road Ltd 25 Blythe Road London W14 0PD Tel: +44 (0)20 7806 5541 Fax: +44 (0)20 7602 5973 Email: enquiries@25blytheroad.com Please note that further detailed high resolution images are available in the online listing.

Online Catalogue: www.25BlytheRoad.com www.the-saleroom.com

Online bidding only through:

Front cover: Lot 140 Back cover: Lot 363

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Arthur Millner ISLAMIC, INDIAN, HIMALAYAN & SOUTH EAST ASIAN WORKS OF ART, INCLUDING GREEK ISLAND AND COPTIC TEXTILES

TO BE SOLD ONLINE BY AUCTION AT www.25blytheroad.com 25 Blythe Road London W14 0PD enquiries@25blytheroad.com Tel. +44 (0) 20 7806 5541

PUBLIC EXHIBITION Sunday 7th June 12 noon to 4pm Monday 8th June 10am to 7pm Tuesday 9th June 10am to 5pm Wednesday 10th June 10am to 5pm Thursday 11th June 10am to 12pm

ONLINE BIDDING

8th – 11th June Bidding opens at 12 noon on Monday 8th June and closes from 12 noon onwards on Thursday 11th June

This auction is conducted online by 25 Blythe Road Ltd in accordance with our Conditions of Business printed in the back of this catalogue and further terms listed at www.25blytheroad.com

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IMPORTANT INFORMATION FOR BUYERS All lots are offered subject to 25 Blythe Road Ltd’s Conditions of Business and to reserves. The Conditions of Business for Buyers are published at the end of this flip catalogue.

Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.

A Buyer’s Premium of 20% is applicable to all lots in this sale. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated, lots are offered for sale under the auctioneer's margin scheme and VAT on the Buyer’s Premium is payable by all buyers.

A webcast fee of 3% + plus VAT is payable on the hammer price for timed online auctions.

Lots marked with the symbol ‡ have been imported from outside the European Union (EU) to be sold at auction under Temporary Import Rules. When released to buyers within the EU, including the UK, the buyer will become the importer and must pay VAT at the rate of 5% on the hammer price and 20% on the Buyer’s Premium. Buyers outside the EU will normally be eligible to obtain a refund in respect of temporary import VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request.

Artist Resale Right On certain Lots marked • in the Catalogue that are sold for a Hammer Price of €1,000 or greater (converted into GBP using the European Central Bank Reference rate prevailing on the Auction End date) an additional premium will be payable by the Buyer to cover the payment of royalties under the Artist Resale Right Regulations 2006. The additional premium will be a percentage of the amount of the hammer price calculated in accordance with the table below, and shall not exceed the equivalent of €12,500.

Hammer Price Percentage Amount From €0 to €50,000 4% From €50,000.01 to €200,000 3% From €200,000.01 to €350,000 1% From €350,000.01 to €500,000 0.5% Exceeding €500,000 0.25% 25 Blythe Road Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge.

25 Blythe Road Ltd can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will assist in the application for any export licences which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements.

Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.

We are pleased to accept major credit cards (regrettably we are unable to accept American Express), for which a surcharge will be made of 3% of the transaction total. There is no charge for payments made by a UK debit card; however non-UK debit cards will attract a 3% charge. Cash and Credit card payments, made on the premises, above £6,000 will not be accepted without prior arrangement. Electronic transfers may be sent directly to our Bank.

Storage On receipt of cleared funds, lots can be collected from 25 Blythe Road during the auction or immediately after its completion. Thereafter, all purchased lots will be stored at 25 Blythe Road Ltd’s premises. Please note that collection is

BY APPOINTMENT on +44 (0) 207 602 4805. All lots should be cleared within two months of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

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1 A COPPER-GILT REPOUSSE PANEL Tibet, 18th century of rectangular form, depicting a lion, with scrolling mane and tail, gaping mouth and bulging eyes 21.5 x 28cm ÂŁ2500-3500

1 2 A COPPER REPOUSSE HEAD OF INDRA Nepal, 15th/16th century with incised features, wearing large hoop earrings, his forehead with third eye, wearing elaborate crown with turquoise inlay and a winged kirttimukha, traces of the original gilding, mounted 21.5cm Provenance Spink and Son, 1980s Indra has vedic origins and was originally chief of the gods in the Hindu pantheon.

Over time, however, his cult in India was superseded by that of Siva, Vishnu and Durga. In Nepal, however, his prestige has endured, and he is revered by Buddhists as well as Hindus. As king of the gods, he is depicted richly adorned. The key identifying mark here is the third eye, positioned horizontally on his forehead. ÂŁ4000-6000

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3 3 THE GODDESS SANKHA Tibet, 16th century bronze openwork plaque, probably from a stupa, the goddess depicted holding the conch in front while dancing on a lotus, turquoise inlaid jewellery, mounted 11.5cm high The Auspicious Symbols of Tibetan Buddhism are sometimes personified as deities holding the image of the symbol.

Sankha is the goddess of the conch, one of the Eight Auspicious Symbols. She is depicted in dancing attitude with a conchshell in her hands. She would have been accompanied on a stupa by the remaining seven Auspicious Symbols. £3500-4500 4 A VOTIVE PLAQUE DEPICTING KURUKULLA Tibet or Mongolia, 19th century polychrome-painted and gilded clay, moulded in relief, a seated figure of Buddha in the clouds above, silk lining on the back 16cm high £700-900 6

5 A TSA-TSA DEPICTING HEVAJRA Tibet, circa 18th century polychrome-painted moulded clay, the multi-armed deity in yab-yum with his consort, surrounded by a flaming aureole, standing on corpses on a lotus, three incised Tibetan characters on the reverse 12.3cm high

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£800-1200 6 A BRONZE FIGURE OF A DONOR Nepal, 19th century the male figure seated on a square lotus base, wearing flowing pleated robes and cap, holding objects in each hand, an offering tray in front 15cm high £500-700

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7 7 A COPPER-GILT RELIEF DEPICTING A NAGARAJA Tibet, 14th/15th century repousse decoration with traces of black and red pigment, the fierce male deity depicted flying through the heavens amidst multiple flaming cobras, holding a cakra aloft in his left hand, wearing large disc earrings and crown, his face with bulging eyes, moustache and goatee beard, mounted 31cm high Provenance Private collection, France, early 1980s Spink and Son Ltd, mid. 1990s. ÂŁ12000-15000 7

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8 8 A CLAY FIGURE OF MILAREPA Tibet, 19th century painted and gilded, the long haired elderly sage seated on a square base, a white cape loosely hanging from his left shoulder, his right hand held to his ear 9.5cm high Milarepa was a historic character in 11th century Tibet, who after a wayward youth achieved enlightenment and became a revered poet and teacher. He is usually depicted with his hand to his ear, symbolising his receptiveness to spiritual wisdom and tantric teaching. He is often depicted with a greenish hue, said to be on account of of his love of nettle tea. £1000-1500

10 9 A BRONZE FIGURE OF PADMAPANI Tibet, 17th/18th century standing on a lotus, wearing voluminous robes flowing at his feet, his right hand in varada, his left in vitarka mudra, a lotus blossoming at his left shoulder, wearing elaborate headdress and large earrings, two scrolls remaining underneath 12.2cm high This is one of the most popular of the 108 forms of the bodhisattva Avalokitesvara, personifying compassion. £2000-3000 10 A COPPER GILT PLAQUE Tibet, 18th century the pierced repousse relief decoration depicting a man in Tibetan dress holding a lotus flower, surrounded by a partial beaded border with turquoise inlay at the bottom, traces of black and red pigment, mounted 27 x 20.3cm £6000-8000

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11 11 A COPPER-GILT OFFERING DEPICTING LUNGTA Mongolia, 18th-19th century the horse emblem within an openwork roundel, a flaming jewel on his back, on lotus base 12.5cm high The ‘Wind Horse’ represents good fortune, and probably dates back to an earlier, preBuddhist tradition. £2500-3500

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13 A GILT BRONZE FIGURE OF GREEN TARA Tibet, 15th/16th century seated in lalitasana on a double lotus throne, her right hand in varada, her left in vitarka mudra, a lotus flowering at each shoulder, her elaborate jewellery set with turquoise and coral, a diminutive figure of Buddha in her headdress 12.2cm high Provenance American private collection £2000-3000

12 12 A CARVED WOOD SECTION FROM A SHRINE Tibet, circa 17th century polychrome-painted and gilded, depicting Manjusri standing with his right hand at his chest, his left in varada mudra by his side, each with the stem of a padma, flowering at each shoulder, one with khadga the other with a book, a diminutive figure riding a vyala and elephant on his left 18 x 15.5cm

14 A SINO-TIBETAN BRONZE FIGURE OF A LAMA China, probably Beijing, 19th century Seated on a double cushion, the pot bellied figure with hands in dhyanasana and holding the stem of a padma, wearing broad cap, his garments and cushions with incised decoration, painted Chinese characters on the sealing plate 25.5cm high

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15 A BRASS FIGURE OF SADAKSARI Tibet, 13th/14th century Seated on a double lotus throne in dhyanasana, his primary hands in namaskara mudra, his upper hands in vitarka mudra, wearing a tall three leaf crown, his eyes with traces of copper and silver inlay 20.5cm Provenance Private collection, USA, acquired before 1990.

This figure is a provincial version of a slightly larger and more refined image of Vairocana in the Victoria and Albert Museum, London. See Rhie and Thurman: ‘Wisdom and Compassion’ New York 1991, no.140 £2000-3000

Provenance An American private collection £2000-3000

£500-700

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16 16 A POLYCHROME-PAINTED WOOD FIGURE OF LAMA KUNZAN TENPI NYIMA (1843-1891) Tibet, 19th century seated on a lotus throne, on separate raised plinth, wearing richly brocaded robes and Nyingma lama’s cap, his hands in abhaya and dhyana mudra, a Buddhist manuscript in his left hand, his face with finely painted features, inscribed in gold Tibetan script at the back, the underside with double vajra painted on red muslin 23cm high (main figure with lotus base); 27.5cm (together) This is an extremely rare depiction of an important Tibetan lama of the Nyingma school. Kunzan Tenpi Nyima who is identified by the Tibetan inscription at the back, is one of the incarnations of Pema Lingpa, a famous discoverer of sacred texts (terton), who lived in the 15th century. According to Tibetan tradition Pema Lingpa’s lineage is carried on through three lines of emanations of Body, Speech, and Mind all of whom currently reside in Bhutan. Kunzan Tenpi Nyima was the 8th Speech incarnation of Pema Lingpa whose life was predicted in the 9th century by Padmasambhava, the founder of the Nyingma school. £5000-8000

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17 17 A HORSE-HEADED DEITY Tibet, 18th-19th century Copper-gilt repousse relief, the dancing figure holding a ball(?) in his left hand, his right hand in karana mudra, standing on a lotus base, mounted on stand 27cm high Provenance Private British Collection £1000-1500

18 18 A SINO-TIBETAN GILT BRONZE FIGURE OF SIMHAVAKTRA China, 18th century dancing on a prostrate demon on a lotus throne, the lion headed goddess holding a karttrka aloft in her right hand, wearing a skull crown, her hair and mouth with red pigment 18cm high Provenance Private collection, London, acquired in the 1980s.

Simhavaktra, ‘lion-headed’ is one of the dakinis, female Buddhist deities which bring inspiration for mortals. She is a fierce protector for monks and carries the cakra symbol, the wheel of the Buddhist law, hanging from her necklace.

20 20 AN IRON BREASTPLATE Tibet, circa 17th century of convex circular form, with central gilt spiral medallion and gilt outer border, the reverse lined with cloth, mounted on stand 19cm diam.

£4000-6000 19 A POLYCHROME-PAINTED WOOD ORNAMENT DEPICTING A KALASA Tibet, 19th century Carved in openwork relief, in the form of an overflowing vase with a bouquet of flowers 62cm high £200-300

£800-1200

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24 A WOOD RITUAL MASK Northern Nepal, 19th century in the form of a man’s face, carved wood, with holes for eyes and mouth 29cm high £400-600 25 A COPPER-GILT GARLAND Kokonor Style, Mongolia, 18th century of crescent-shaped form, hinged at the centre, the openwork repousse design composed of thirteen severed heads, a rosette at either end, surrounded by a profusely scrolling band, twin suspension loops at either end, mounted on cloth backed board 46 x 46cm approx.

21 21 A BRONZE RITUAL THUNDERBOLT (vajra) Tibet, circa 18th century with waisted double lotus handle, with four-fold lightning bolts at either end issuing from makara heads 14.3cm long £1200-1500

This impressive garland would have formed part of the attire of a large image of a dharmapala £5000-7000

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22 22 PAIR OF BRASS ORNAMENTS Tibet, 17th century or earlier brass repousse with turquoise inlay, of hexagonal form, each in the form of a lotus flower in relief, probably from a crown on an image, mounted on slate base 6.4 x 4.2cm £500-700

23 23 A TSA-TSA MOULD Tibet, 18th/19th century brass, with wood handle, the plate depicting three figures of lamas in reverse, with plain tapering wood handle 9.8cm long (length of brass plate); 22.5cm (length with handle) This mould was used to reproduce clay votive plaques (tsa-tsa). £600-800

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26 26 A BUDDHIST MALA Eastern Tibet, 19th century or earlier strung with bodhi seed beads, punctuated with conch and cornelian beads, and two iron counters 12-14mm (diameter of beads) £300-400

27 27 A BUDDHIST ROSARY (mala) Tibet, 19th century with 108 dark wood beads, one large amber bead, three cornelian beads and two metal counters £350-450 28 A BONPO STUPA Tibet, 15th century Cast bronze, the base of square section, the sides with sacred emblems, the bulbous element above decorated with garlands, supporting a tapering tiered superstructure topped with kalasa finial, the base with later wood seal incised with svastika emblem 22.5cm high

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£4000-6000 29 A POLYCHROME-PAINTED RITUAL DRUM (damaru) Tibet, 19th century wood, with stretched hide on one side, in the form of a pair of hemispheres, the exterior painted with skulls and severed heads interspersed with cartouches containing siddhas and cemeteries, the interior with two concentric lines of Tibetan script including the name of Vajravarahi and a Sanskrit mantra 19cm diam.; 12cm wide £600-800

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30 30 TWO BRONZE RITUAL THUNDERBOLTS (vajra) Tibet, 18th/19th century one with waisted double lotus handle, the other plain, each with eightfold lightning bolts at either end 13; 13.3cm long £300-500

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31 31 A PAIR OF BUDDHIST TRUMPETS (Dungchen) Tibet, 19th century in three concertina sections, of long tapering form, with repousse brass Chinese style mounts around the circumference 162; 153cm approx. (2) Provenance Robin Wigington collection, Stratford upon Avon £250-350

36 A BRONZE TRUMPET (Dungchen) Tibet, 19th century copper and brass, of tapering form, with flared brass opening 67.5cm long Provenance Private collection, London £60-80

34 34 A MANI STONE Tibet, probably 18th/19th century natural stone, carved in lantsa script in shallow relief with the six syllable mantra of Avalokitesvara 20.5 x 13 x 3cm approx. £100-150

32 32 A CONCH SHELL TRUMPET Tibet, early 20th century the body with silver repousse applique mounts, decorated with various animals and scrolling plants, eight medallions on the side depicting the auspicious symbols of Buddhism, with turquoise and coral settings 13.5cm long £200-300

37 37 THREE WOOD PHURBUS Tibet, 18th-19th century Each with three-sided blades, two with triple head finial, the third of faceted abstract form, apart from stylised makara head at the centre, each with traces of pigment 23.5cm long and smaller (3) Provenance Private British Collection

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£150-250

35 SIX WOOD RITUAL OBJECTS Tibet, 18th-20th centuries Comprising two wood fertility symbols in the form of genitalia, a carved wood stylized Buddhist figure, a cloth lama’s cap, a folding puja spoon and a leather object 62cm long (altar spoon) fully opened (6) £80-120

33 33 A TURQUOISE SET SILVER LID Tibet, 18th century from an amulet box, of circular form, with chased and repousse scrolling decoration 5.7cm diam £150-250 14

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38 38 A TSAKLI DEPICTING A BARDO DEITY Tibet, 18th/19th century gouache on card, the deer-headed figure depicted holding a boulder(?), seated on a rug in a landscape, red border, framed 16.4 x 12cm £250-350

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41 41 A RITUAL CROWN (rigma) Tibet, 18th century cloth with gesso, polychrome-painted and gilded, in the form of five leaves with leather attachments, each painted with a form of Buddha (tathagata) 48cm approx. diameter (opened out) 39 39 A TSAKLI DEPICTING VAJRASATTVA Tibet, circa 18th century pigment on cloth, the deity depicted within a pear-shaped medallion, framed 14 x 8.2cm

£200-300

£120-150

44 44 A THANGKA DEPICTING PEHAR Mongolia, 19th century pigment with gold on cloth, silk mount, the dharmapala depicted riding a white lion and accompanied by five deities from his retinue, a figure of Padmasambhava at the top 43 x 29cm (inside mount) The Dharmapala Pehar was originally a local deity in Mongolia; according to legend, he was subdued and converted to Buddhism by the famous 8th century teacher Padmasambhava who made him a dharmapala and protector of Tibet’s first monastery at Samye. £2500-3500

42 42 GROUP OF SEVEN TSAKLIS Tibet, 19th century gouache with ink on paper, depicting votive offerings, each with orange border, inscribed in cursive Tibetan script on the reverse 83 x 70mm (7)

40 40 A PAINTED WOOD CABINET PANEL Tibet, 18th/19th century painted with gesso and gold, the central circular medallion depicting a Buddhist goddess, her hands in abhaya mudra and holding a blue gem, surrounded by scrolling stylised foliage 46 x 52cm

£200-300

43 43 THREE TSAKLIS Tibet, 19th century watercolour and ink on paper, each depicting a naga couple 130 x 73mm (3)

45 45 A THANGKA DEPICTING SADAKSARI Mongolia, early 20th century Pigment with gold on cloth, silk mount, the four armed Buddhist deity seated holding a padma in his upper left hand, surrounded by diminutive figures of devotees and other deities, monastic seal on the reverse 54 x 38.5cm

£350-450

£500-700

£700-900

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46 46 A THANGKA DEPICTING PEHAR Tibet, 19th century pigment on cloth, silk mount, the dharmapala depicted riding a white lion and accompanied by five deities from his retinue, a figure of Padmasambhava at the top 43 x 29cm (inside mount) The Dharmapala Pehar was originally a local deity in Mongolia; according to legend, he was subdued and converted to Buddhism by the famous 8th century teacher Padmasambhava who made him a dharmapala and protector of Tibet’s first monastery at Samye. £2500-3500

48 48 A PAINTED WOOD PANEL FROM A CABINET Tibet, 19th century depicting the siddha Drupchen Sogpo Pal-gyi Yeshe, with his tiger on a chain leash in a mountainous wooded landscape 35.5 x 70.5cm Exhibited: Asia Society, London Drupchen Sogpo Pal-gyi Yeshe, was one of Padmasambhava’s pupils who lived in the 8th century. He was born in Central Tibet, near the holy Yamdrok lake, and was reputed to have gained immense physical strength through his meditation practices.

His strength was so great that he could tame wild animals with ease and his attribute, therefore, is a tiger. Although references to Sogpo Pal-gyi Yeshe can be found in Nyingma texts, images of him are extremely rare.

49 A TSAKLI DEPICTING PADMASAMBHAVA Tibet, 18th century gouache with gold on paper, the Buddhist teacher seated within a rainbow halo, on a lotus throne, surrounded by a red border, inscriptions in cursive Tibetan on the reverse 13 x 10cm £600-800

£1000-1500

47 47 A THANG-KA DEPICTING LHA-MO ON A CAMEL Mongolia, 19th century Pigment on cloth, the fiercesome deity wielding a club and skull bowl, mounted 320 x 260mm

50 50 A THANG-KA DEPICTING RATNASAMBHAVA Tibet, 18th century Pigment with gold on cloth, the Buddha seated on a lotus, surrounded by multiple haloes and verdant landscape, diminutive figures of Tsong ka pa and Silaparamita (?) above, framed 592 x 400mm (visible area)

Palden Lha-mo is consort of the Dharmapala Mahakala, and fierce protectress, widely worshipped in Tibet and Mongolia. £450-550

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£200-300

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52 WHITE TARA Nepal, 19th century gouache with gold on paper, the Buddhist goddess depicted on a lotus, floating on a lake 300 x 230mm £200-300

55 detail 55 A TEMPLE HANGING Tibet, 19th century composed of a row of nineteen tsaklis mounted on cloth, each depicting a lama or Buddhist deity, Tibetan letters on the reverse of each 146cm long approx.

Provenance Private British Collection £200-300

51 51 A THANG-KA DEPICTING THE ARHAT PINDOLA Buryatia, Siberia, Russia, 19th century Pigment with gold on cloth, the elderly figure depicted seated on an upright chair with footstool outside a cave in a hilly landscape, holding bowl and book while a diminutive devotee sits at his feet, a fruit tree and peacocks behind, Chinese silk mount 620 x 455mm (image) Pindola, known as Pindara “seeker of alms” in Tibetan, is known for his love of food as well as his intelligence and knowledge; he is triumphant over heretics.

Although this painting is stylistically well within the Tibetan idiom, there are some idiosyncrasies which are perhaps indicative of its geographical distance from the Tibetan heartland; although arhats are often depicted turned to one side, rather than facing ahead as is the case with most images, it is very rare for the figure to be in full profile as here.

53 53 TWO MEDICAL PAINTINGS Tibet, late 19th century pigment with ink on paper, one depicting in a series of rows the stages in childbirth, each inscribed, the other an anatomical diagram showing the details of the skeleton and organs, each inscribed, mounted 633 x 402mm; 602 x 404mm (2)

56 detail 56 A TEMPLE HANGING Tibet, 19th century composed of a row of thirty tsaklis mounted on cloth, each depicting a dakini, lama or Buddhist deity 236cm approx. long Provenance Private British Collection £300-500

£400-600

£1000-1500

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54 54 A MONUMENTAL BUDDHIST BANNER Tibet, 19th century ink and pigment on cotton, of very long rectangular form, depicting (from left to right): Vajrapani, Sakyamuni, Samantabhadra, Vajrasattva, Sadaksari, Amitayus, Padmasambhava, Manjusri, Vajradhara, a lama, Amoghasiddhi and Simhavaktra 135 x 820cm approx.

57 57 A TSAKLI DEPICTING A STUPA Tibet, 19th century pigment with gold on cloth, a figure of Vajrapani standing in front, mounted 18.5 x 14.9cm

£1000-1500

£250-350

Provenance Private British Collection

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59 TWO TSAKLIS Tibet, 19th century pigment on cloth, the larger depicting Vajravarahi, the red coloured dakini dancing while holding a karttrka and a skull, inscribed in Tibetan on the reverse, the other depicting Vajrabhairava with his consort, his vahana vomiting flames, surrounded by four similar figures, a figure of Mahakala at the top, both framed 15.7 x 12.7cm; 9 x 7.1cm (2) £250-350

61 A KIRTTIMUKHA MASK India, 19th century brass repousse, the mythical beast with bulging eyes and gaping mouth 24.5cm high Provenance Private collection, Yorkshire The kirttimukha ‘face of glory’, is the head of a mythical lion, usually placed above a shrine or doorway. £80-120

58 58 A THANG-KA DEPICTING A LAMA Bhutan, 18th century pigment with gold on cloth, silk surround with Chinese brocade panel below, the reverse with painted stupa emblem and lantsa inscription 73.5 x 52.5cm (painting) Provenance Hugh Arthur Lewes (1839-1914) Thence by Descent Hugh Arthur Lewes was born in Cawnpore (now Kanpur) in 1839 and served in the 19th Punjab Infantry in the 1860s. After numerous incursions by the Bhutanese into India, a punitive expedition was sent into the kingdom in 1864. On 6th December, the fort of Dalim Kote was captured, and this thang-ka was Lewes’ share of the loot. Sections of his diary and research by the vendor’s father, as well as a photograph of Lewes are included with this lot.

60 60 FOUR TSAKLIS Tibet, 19th century Two painted on cloth, depicting Vajrasattva, with in yab-yum, framed together, another on paper depicting a phurbu, the fourth on card depicting a quartet of Bar-Do deities, framed 130 x 95mm and smaller £150-250

£300-500

62 62 A SMALL CHOLA FIGURE OF SIVA Tamil Nadu, South India, 11th/12th century bronze, probably from a Somaskanda group, seated in lalitasana, his two primary hands in abhaya and vitarka mudra, his upper hands holding a conch and a deer, wearing tall headdress 11cm high Provenance Private collection, Yorkshire The popular representation of the family group of Siva, Uma (Parvati) and Skanda, is particularly common in South India. See for example Anna Dallapiccola, Dictionary of Hindu Lore and Legend, London 2002, p.182. £800-1200

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66 A FOUR-ARMED DEITY, PROBABLY KRISHNA Bengal, 18th century cast brass, the slender figure on a circular lotus base, holding attributes in each of his hands, wearing dhoti and jewelled belt, his hair gathered in a bun with bud finial 35cm Provenance Private collection, Yorkshire £1500-2500

63 63 SRI DEVI AND BHU-DEVI South India, 18th century ‘gangajumna’ cast brass and bronze, the two consorts of Vishnu each standing with bodies slightly flexed, holding a padma, Sri Devi wearing the characteristic kuchabandha across her breasts 16, 16.2cm (2) Provenance Private collection, Yorkshire £1200-1500

65 65 THE YOUNG KRISHNA Western Deccan, India, 19th century brass, the god standing on a lotus base, holding a his churning stick, his hair tied in a bun 9.7cm high Provenance Private collection, Yorkshire This unusual form of Krishna is worshipped in Udupi on the coast of Karnataka. Rukmini is said to have had an image made to remind her of the moment when the mischevous Krishna seized the butter churning stick with its turning rope, and the image was later brought to Udupi where it became the centre of an important cult. £400-600

67 67 A RARE STANDING BRONZE FIGURE OF NARASIMHA Tamil Nadu, South India, 15th/16th century the lion headed avatar of Vishnu, standing on a lotus base, his primary hands in abhaya and varada mudra, his upper hands holding cakra and sankha, wearing tall conical headdress 17cm high

64 64 A BRONZE FIGURE OF A DEITY Gujarat, Western India, 18th/19th century standing on a pierced square base, his body of stylised form, wearing large hoop earrings, his right hand raise, his left held in front, wearing distinctive pointed boots 23cm high

Provenance Private collection, Yorkshire It is perhaps surprising that Narasimha is rarely depicted standing in the standard ‘Vishnu’ pose; he is much more often seen seated, either with his consort or in the process of disembowelling the asura Hiranyakasipu.

Provenance Private collection, Yorkshire £200-300

£1000-1500

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70 A ‘GANGAJUMNA’ FIGURE OF GARUDA South India, 18th century brass and bronze, the winged vehicle of Vishnu standing on a lotus, his hands in namaskara mudra 11.8cm high Provenance Private collection, Yorkshire £500-700 71 A GANGAJUMNA FIGURE OF VISHNU South India, 18th century bronze and brass, standing on a lotus throne, the four armed deity with primary right hand in varada mudra, his upper hands holding cakra and sankha, his tall tiered headdress with bud finial 13cm high Provenance Private collection, Yorkshire

68

68

68 A BRONZE FIGURE OF LAKSHMI Tamil Nadu, South India, circa 1900 seated on a double lotus throne, on raised pierced plinth, the goddess in sattvasana, her primary hands in abhaya and varada mudra, her upper hands both holding a padma, her breasts with kucha-bandha, with makara earrings and tall cylindrical headdress surmounted by bud finial, indistinct label on the underside reading: Given me by H.A.Simpson [?]with several [?] others [.....] July 1922 33cm high

69 A BRASS LINGAM COVER Western India, probably Maharashtra, 18th/19th century in the form of a mask with large almondshaped eyes, a third eye on the forehead and headdress with cobra and pointed finial 25cm high Provenance Private collection, Yorkshire

£600-800 72 A ‘GANGAJUMNA’ FIGURE OF VITHOBA South India, 18th century bronze and brass, standing on a lotus, his hands at his hips, holding a padma and sankha 13.5cm high Provenance Private collection, Yorkshire £400-500

£500-700

Provenance Private collection, Yorkshire £300-400

70

20

71

72t

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73 73 A ‘GANGAJUMNA’ FIGURE OF RAMA Tamil Nadu, South India, circa 18th century bronze and brass, standing on a lotus, holding his bow (now missing), his quiver behind his right shoulder, wearing tall headdress with bud finial 12.4cm high Provenance Private collection, Yorkshire £300-400

75 75 NARASIMHA AND LAKSHMI South India, 17th/18th century the lion-headed avatar of Vishnu seated on a lotus throne, sheltered by a five-headed cobra canopy, his legs loosely crossed, holding his consort on his knee, his primary right hand in varada mudra, his upper hands holding a sankha and cakra 13cm high

77 77 A BRONZE FIGURE OF BALAKRISHNA Tamil Nadu, South India, 17th/18th century the infant Krishna depicted crawling and holding a stolen piece of butter in his hand, wearing a tall flared circular hat 10cm high

Provenance Private collection, Yorkshire

£700-900

Provenance Private collection, Yorkshire

£1200-1500

74 74 A BRONZE FIGURE OF HANUMAN South India, circa 18th century the monkey headed god seated in sattvasana holding his club in his right hand, the uprooted tree(?) in his left 4.2cm high Provenance Private collection, Yorkshire £150-200

76 76 A BRONZE FIGURE OF VARAHA AND HIS CONSORT South India, circa 17th century the four-armed boar-headed avatar of Vishnu seated with his consort on his left knee 6.5cm high Provenance Private collection, Yorkshire

78 78 THE INFANT KRISHNA South India, circa 18th century brass, seated on a lotus with legs loosely crossed, a butter ball in his right hand, a bowl in his left 7.5cm high Provenance Private collection, Yorkshire £300-400

£200-300 21

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79 79 A BRONZE FIGURE OF ANNAPURNA Gujarat, Western India, 16th century seated on a stool with her diminutive vehicle, the lion at her feet, holding her ladle in her lap 6.5cm high Provenance Private collection, Yorkshire Annapurna is the Hindu goddess of nourishment, especially worshipped in Varanasi (Benares). She uses her large ladle to serve food to her devotees.

81 81 A CHOLA BRONZE FIGURE OF KRISHNA Tamil Nadu, South India, 12th/13th century standing on his left foot, his right foot and left arm raised in dance, a ball of butter in his right hand, his hair gathered in a bun 7.1cm high Provenance Private collection, Yorkshire

83 83 A BRONZE FIGURE OF RAMA South India, 18th century his hands originally holding his bowl, a quiver hanging from his right shoulder 12cm high Provenance Private collection, Yorkshire £250-350

£250-350

£100-150

80 80 A BRONZE FIGURE OF GANESHA WITH HIS CONSORT Tamil Nadu, South India, circa 18th century bronze, the pot-bellied elephant headed deity with ten arms, his primary right hand holding laddoo, holding his consort in his left 6.7cm high

82 82 KRISHNA VENUGOPALA WITH HIS CONSORT South India, 16th/17th century seated together on a rectangular throne, the four-armed deity playing the flute (now missing), holding his consort who sits on his left knee 9.4cm high

84 84 BHU-DEVI AND SRI-DEVI Tamil Nadu, South India, 18th/19th century cast brass, the two consorts of Vishnu standing on lotus bases, raise on plinths, each holding a lotus in one hand, the other by her side, Sri-Devi wearing a kucha bandha over her breasts 18cm high each approx. (2)

Provenance Private collection, Yorkshire

Provenance Private collection, Yorkshire

Provenance Private collection, Yorkshire

£250-350

£400-500

£1200-1500

22

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85 85 A BRONZE IMAGE OF UMAMAHESHVARA South India, probably Tamil Nadu, circa 18th century the Hindu deities seated on a raised lotus throne, the four armed Siva with his legs in lalitasana, his consort Parvati resting on his left knee, his primary hands in abhaya and varada mudra, his upper hands holding an axe and a deer, a head of Bhairava and a crescent in his crown 16.5cm high

87 87 A BRONZE FIGURE OF ARDHANISVARA South India, 20th century the composite deity standing on a lotus base, with tall headdress 22.5cm high Provenance Private collection, Yorkshire

Provenance Private collection, Yorkshire

Ardhanisvara, who represents Siva and Parvati combined, symbolises the unity of male and female, cause of creation

£1000-1200

£70-100

89 89 A BRASS SHRINE DEPICTING LAKSHMINARAYANA South India, probably Tamil Nadu, 18th century in three sections, the four-armed Vishnu holding his consort on his left knee, seated together on a double lotus, supported by a diminutive figure of Garuda, a five headed naga and kirttimukha above 21.5cm high Provenance Private collection, Yorkshire £600-800

86 86 A BRASS FIGURE OF KRISHNA VENUGOPALA Bengal, Eastern India, 19th century standing on a circular base on ebonised wood stand 20cm high (excluding stand) Provenance Private collection, Yorkshire £300-500

88 88 A BRASS VISHNU SHRINE South India, 19th century in five sections, the central figure of Vishnu flanked by his consorts Sri Devi and Bhu-Devi, on rectangular lotus base, the god shelterred by a five headed naga and surrounded by an aureole with makaratorana arch surmounted by kirttimukha 20cm high (together) (5) Provenance Private collection, Yorkshire

90 90 A BRASS HANUMAN SHRINE South India, 18th/19th century in three sections, the monkey-headed deity standing on a tiered base, with hands in namaskara mudra, his tail arched behind his back, surrounded by a leafy aureole, surmounted by a kirtimukha 25cm high Provenance Private collection, Yorkshire £500-600

£600-800 23

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91 91 A BRASS SHRINE India, 19th century probably Jain, in two sections, comprising a rectangular raised base and openwork prabha, the latter with a pair of vyalas at the bottom on either side, with makaratorana above, surmounted by kirttimukha, a tree in the middle with a five headed cobra wrapped around the trunk 21.4cm high Provenance Private collection, Yorkshire £50-100

93 93 A BRASS FIGURE OF DURGA Western Deccan, 18th century in three sections, standing on a raised square plinth, holding conch, rosary, bowl and mace in her four hands, a five headed naga and kirttimukha above 23.5cm high Provenance Private collection, Yorkshire

95 95 A BRONZE FIGURE OF VISHNU Tamil Nadu, South India, 18th/19th century standing on a lotus, the four-armed deity with primary right hand in varada mudra, his left resting on his mace (now missing), his upper hands holding cakra and sankha, wearing tall headdress with bud finial 23.6cm high £1000-1500

£1000-1200

92 92 A BRASS AND BRONZE SHRINE DEPICTING VISHNU South India, 19th century in three sections, the bronze four-armed deity with primary hands in varada mudra and resting on his mace (now missing), his upper hands holding cakra and sankha, on brass stand, a brass aureole behind with lef design, a cobra canopy and kirttimukha finial at the top 27.4cm high

94 94 A BRONZE FIGURE OF RADHA Bengal, Eastern India, 19th century standing on a circular lotus base, her right hand raised holding a fruit(?), her left at her side in vitarka mudra 22cm high

96 96 KRISHNA VENUGOPALA Tamil Nadu, South India, 18th/19th century bronze, standing on a lotus base, playing the flute (now missing), while a cow from the herd licks his feet 11.5cm high

Provenance Private collection, Yorkshire

Provenance Private collection, Yorkshire

£400-600

£500-700

£400-600

24

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98 A BHUTA HERO RIDING PANJURLI Karnataka, South-Western India, 19th century bronze, in two sections, the mousatchioed figure holding a sword (now missing), wearing a crown and elaborate flaring cape(?), the boar Panjurli with pointed ears and beaded ridge along his snout and back 15.6cm high (together) (2) The cult of bhuta or spirit worship is centred in Western Karnataka and the boar Panjurli is best known of these sub-deities.

Wild boars are notoriously destructive to farmers, and the cult is said to have arisen as local inhabitants tried to pacify the rampaging animals. £250-350

100 100 A BRONZE FIGURE OF HANUMAN Probably Tamil Nadu, South India, circa 18th century standing on a lotus, the monkey headed deity with hands in namaskara mudra, wearing floral dhoti, his long tail with bell scrolling behind his head 12cm high 97 97 A BRONZE FIGURE OF KRISHNA Bengal, Eastern India, 18th century standing with legs crossed, his mace at his feet, playing the flute (now missing), zinc and stone inlaid eyes 32cm high

Provenance Private collection, Italy, since circa 1980 £500-800

£1200-1500

99 99 A BRASS SIVA MASK (mohra) Himachal Pradesh, 15th century or later in the form of a stylised bust, the head with crown, large earrings and third eye, mounted 19.5cm high Provenance Private collection, Italy £300-500

98

101 101 A BRONZE FIGURE OF GANESHA Western Deccan, 16th/17th century the four armed deity, holding attributes in his hands, seated with legs loosely crossed, his vehicle the rat at his feet, his forehead with silver inlay, the prabha surmounted by a kalasa 10.8cm high £200-300 25

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102 102 A BRASS HAKU PATRA PLAQUE Andhra Pradesh, Deccan, Southern India, dated samvat 1516/ AD.1572 cast brass, of rectangular form, with cusped arched top, surmounted by kirttimukha, the front with five tiers of relief scenes, the top with central figure of Siva with Nandi at his feet, flanked by Vishnu and Brahma; the second tier with central figure of Durga, with three asura heads below, two devotees on the left, a figure of Ganesha and a mirror on the right; the middle tier with a scene of a sculpture workshop with craftsmen making images of a male deity and Brahma, showing a grinding wheel and anvil being used, the fourth tier with a similar scene, including a figure bringing an implement by horse, the bottom tier with two camels and a herdsman (?) and seated deity, the reverse densely inscribed with 52 lines of Telugu script 27 x 13.2 x 0.6cm Provenance Private collection, London Acquired about 25 years ago The text, a full transcript and translation of which is sold with this lot, comprises a mythical description of the origin of the Visvabrahmins or Visvakarmas, a community of artisans chiefly in the Southern states of India. They see themselves as descendants and followers of Visvakarma, the Hindu god who is considered architect of the universe, and they are divided into five groups, each descending from one of Visvakarma’s five sons, comprising carpenters, blacksmiths, bell metalworkers, goldsmiths and stonemasons.

Haku Patras are effectively grant certificates which accord rights to single or groups of people: this might be rights over the use of land, or to perform or provide services. They are thought to have been in use for about 500 years, which makes this example amongst the earliest. As well as metal, Haku Patras are sometimes paper documents or scrolls. The main work on the subject is research undertaken

by R. Thirmal Rao funded by the British Library. See http://eap.bl.uk/ (search for no.201). A similar example to ours, in the J. LeRoy Davidson Collection, was exhibited in San Diego, at the Mingei International Museum of Folk Art, March-June 1981 ÂŁ5000-7000 26

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105

103

103 A HAKU PATRA PLAQUE Tamil Nadu, Southern India, probably circa 17th century of arched rectangular form, with incised decoration and inscriptions, comprising, on one side, at the top, figures of Siva and Parvati on Nandi, flanked by figures of their sons, Ganesha on his rat, and Subrahmanya on his peacock, the other side with a devotional scene with a priest and devotee, flanked by the sun and moon, the main panels on either side densely filled with 63 and 54 lines of Tamil script, mounted in wood stand 29.9 x 22.2cm; 2mm approx. thick

105 A JAIN BRONZE FIGURE OF A TIRTHANKARA Western India, 15th-16th century standing in kayotsarga, the nude figure male figure with parasol over his head, a column on his left with remains of a small seated jina, a pair of lotus buds issuing from the ground below 34cm high

104

See explanatory note on 102.

104 A TORANA FROM A SHRINE Northern India, 19th century brass repousse with red pigment, made in sections rivetted together, the cusped arch with stylised flower and leaf design, a kirttimukha mask at the apex 58 x 80cm

£3000-5000

£250-350

Provenance Private collection, London Acquired about 25 years ago.

Provenance London art market, circa 1990.

This fragment originally formed part of a very large brass shrine or altarpiece. For a complete shrine of similar scale in the Norton Simon Museum, see Pratapaditya Pal, The Peaceful Liberators: Jain Art from India, Los Angeles 1994, no.37, p.150. The standing Jinas adjacent to the main image are almost identical to the figure in our fragment. £3000-5000

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106

107

108

106 A SMALL BRONZE FIGURE OF BUDDHA Kashmir or Gandhara, 4th/5th century seated in padmasana on a lotus, his hands in dharmacakra mudra, with elongated earlobes and bun usnisa, socket for attachment underneath 5.9cm high The socket underneath suggests that this figure was originally part of a larger shrine or stupa. For a closely related figure of Maitreya in the Los Angeles County Museum of Art, see Pratapaditya Pal, Indian Sculpture: A Catalogue of the Los Angeles County Museum, Berkeley 1986, no.S100, p.226 £700-900 107 A BRONZE FIGURE OF BUDDHA Kashmir, Northern India, 5th/6th century standing with body slightly flexed, his right hand raised in abhaya mudra, his left holding a begging bowl, wearing conical headdress, his head surrounded by a halo 8cm high £600-800 108 A BRONZE FIGURE OF A BODHISATTVA Kashmir, Northern India, 6th/7th century standing with right hand in abhaya mudra, wearing crown and turban(?)

8cm high £300-500

110 28

109

109 A GANDHARA SCHIST RELIQUARY AND THREE OTHER ITEMS India (now Pakistan), 4th century and later the reliquary of tapered cylindrical form with circular lid, and a bronze figure of Ganesha, a small green stone erotic carving and an ancient gold fragment 3cm high £200-300 110 A LARGE BRONZE FIGURE OF LAKSHMI Kerala, South-West India, 16th century Standing in samabhanga on a separately cast circular lotus base, her right hand holding a lotus which flowers at her right shoulder, her left at her side, wearing elaborate headdress and jewellery, pleated flowing skirt 34.5cm high Provenance Sotheby’s London, 24 November 1986, lot 32.

This figure appears to be a companion piece to a bronze sold previously in these rooms. See 6 November 2014, lot 98. For a very closely related figure in the Norton Simon Museum, California, see Pratapaditya Pal, ‘Art from The Indian Subcontinent’, no.227 £2500-3500

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111 111 A HORSE AND RIDER Rajasthan, India, 19th century bronze, wearing elaborate trappings and blanket, the riding wearing turban, carrying a shield on his back, incised devanagari inscriptions on the horse’s body 20.2cm £300-500

115 115 A LATE CHOLA BRONZE FIGURE OF AIYANAR Tamil Nadu, South India, 13th/14th century Seated on a double lotus throne, his left hand holding a staff, his left resting on his knee, his long hair gathered and flowing down behind his head, wearing crown and large earrings, the base and plinth separately cast 26cm high

112 112 A TOY HORSE Rajasthan, India, 18th/19th century Bronze, of stylised form, wearing saddle and harness, his feet with loops for wheels (now missing) 12cm high; 13cm long £80-120

Provenance Acquired by the vendor in London c.1980.

At Spink and Son, late 1980s

114

113 113 A BRONZE FIGURE OF NANDI BULL Probably Deccan, Southern India, 18th century The bull vehicle of Siva crouching on a rectangular base, wearing blanket, bells and trappings, a diminutive lingam in front 7.5cm high

114 KRISHNA AND RADHA Nepal, 19th century Bronze, each standing on an openwork lotus base, Krishna wearing a Himalayan crown and playing the flute (now missing) 14, 11.5cm (2) £150-250

Aiyanar is a deity only seen in the southernmost states of India, and as is often the case, is likely to have been focus of an ancient local cult subsequently absorbed into Hinduism. He is said to have been born to Mohini, the enchantress, a female manifestation of Vishnu, and fathered by Siva. He carries the shepherd’s crook, an acknowledgement of his rural importance as protector of villages. £15000-20000

£120-150 29

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119 A BRASS VIRABHADRA PLAQUE Western Deccan, India, circa 18th century the four armed deity depicted in relief, wielding a sword, trident, noose and shield, flanked by diminutive figures of Daksha and Sati 17 x 11.7 x 2cm Provenance Private collection, London

116 116 A BRONZE FIGURE OF GANESHA Northern Kerala or Karnataka, South Western India, 15th/16th century the elephant-headed Hindu deity seated on a rectangular base, holding his broken tusk in his right hand, using his trunk to pick sweets from a bowl in his left hand, wearing tall tiered headdress, surrounded by an aureole with stylised flame motifs 8.8cm high The rectangular base and flame motifs on the aureole are typical of Keralan bronzes, although the headdress and high copper content of the bronze are closer to Deccani styles. £1200-1500

118 118 A VIRABHADRA PLAQUE Maharashtra, Western Deccan, India, 18th/19th century bronze, the four-armed deity standing under a cusped arch surmounted by kirtimukha, holding khadga, shield, trisula and damaru, flanked by Daksha and Sati 30.8 x 20cm Provenance Private collection, London

Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him.

Sati, who was Daksha’s daughter, as well as being Siva’s wife, was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. Other gods pleaded for Daksha’s life, but although Siva decided to spare him, his severed head could not be found, so the head of a goat was substituted instead. Daksha is depicted with hands in namaskara mudra, humbly paying respects, while at the bottom, he appears prior to the replacement head being fitted, while next to him is the headless goat. £100-150

Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him.

Sati, who was Daksha’s daughter, as well as being Siva’s wife, was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. Other gods pleaded for Daksha’s life, but although Siva decided to spare him, his severed head could not be found, so the head of a goat was substituted instead. Daksha is depicted with hands in namaskara mudra, humbly paying respects, while at the bottom, he appears prior to the replacement head £250-350

120 120 A BRONZE FIGURE OF VAISHNAVI South India, circa 18th century standing on a lotus base, set onto an unrelated brass stand, the four armed goddess with primary hands in varada and abhaya mudra, his upper hands holding cakra and sankha 10.5cm high

117 117 A BRONZE FIGURE OF DANCING KRISHNA Tamil Nadu, South India, 17th/18th century the youthful deity standing on one foot on a lotus base, his left hand raised, his right holding a butter ball, his hair tied in a bun 9.8cm high £1000-1500 30

Provenance Private collection, London

119

£300-400

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121 121 A BRONZE SHRINE DEPICTING DURGA Western India, circa 18th century the four armed goddess seated on a lotus, a khadga and patra, in her primary hands, her upper hands holding a damaru and trisula, seated under a naga, a diminutive figure of Ganesha and a devotee at her feet 10cm high Provenance Private collection, London

123 123 A BRONZE FIGURE OF BHAIRAVA South India, 18th/19th century the four-armed fierce form of Siva holding various attributes, his vehicle the dog standing at his feet 7.8cm

125 125 A SAIVITE RITUAL SPOON Deccan, Southern India, 18th/19th century brass, the large bowl of hemispherical form, the handle with diminutive figure of Nandi and various other figures and objects, bud finial 46cm long Provenance Private collection, London £150-250

Provenance Private collection, London £250-350

£300-500

122 122 A BRONZE FIGURE OF VISHNU South India, circa 16th century standing on a circular base, the fourarmed deity with a lotus flower in his primary right hand, held in varada mudra, his left resting on his gada (now missing), his upper hands holding cakra and sankha 18cm high Provenance Private collection, London £400-500

124 124 A BRONZE FIGURE OF SIVA Maharashtra, Western Deccan, circa 18th century seated in the western manner on a throne, his legs loosely crossed, holding a trident in his right hand, and a begging bowl in his left, wearing cobras around his neck, his head surmounted by a lingam with a further five headed cobra canopy above 18cm high

126 126 RADHA AND KRISHNA Bengal, Eastern India, 19th century bronze, the god depicted playing his flute (now missing), standing with legs crossed on a circular lotus base, his consort standing holding a sweetmeat, both with silver inlaid eyes 23.5; 21cm high (2) Provenance Private collection, London £550-650

Provenance Private collection, London £60-80 31

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127 127 A BRASS LINGAM COVER Maharashtra, Western India, 19th century the moustachioed face with traces of red pigment, his head with protruding ears and separately cast leafy crown surmounted by a bud finial, his hair with traces of black lac 32cm high Provenance Private collection, London

129 129 A BRONZE RELIQUARY IN THE FORM OF A STUPA Sri Lanka, circa 16th/17th century of domed form, the faceted sides with stylised leaf borders above and below, surmounted by bud-shaped finial 21.5cm high Provenance Private collection, London £200-300

£800-1200

130

These masks are worn during rituals involved with the worship of spirits which take various forms, including boars. The bhuta (spirit) is invoked in order to help and entertain villagers. For an example in the Dallas Museum of Art, see https://www.dma.org/collection/artwork/as ian/boar-bhuta-mask £800-1200

32

Provenance Private collection, London £400-600

128 128 A BHUTA BOAR-HEAD MASK Karnataka, Southern India, 18th-19th century with large lozenge shaped eyes, wearing elaborate beaded trappings 28cm long approx.; 22cm high Provenance Private collection, London

131 131 A BRASS FIGURE OF NANDI Western Deccan, circa 18th century seated on a rectangular base, with prominent horns, wearing bells around his neck and back, a diminutive lingam in front, sheltered by a five headed cobra canopy 23cm high

130 A LARGE SKANDA PLAQUE South India, 19th Century of rectangular form, the four-armed deity his primary right hand in abhaya mudra, his left resting on his staff, his secondary hands holding a lotus and trident 35 x 21.5cm Provenance Private collection, London £250-350

132 132 A BRONZE FIGURE OF VISHNU South India, 18th century the four armed deity standing erect on a turtle with attributes in each of his hands, a diminutive figure of Garuda at his feet, his eyes inlaid with white metal 20.7cm high Provenance Private collection, London £600-800

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134 A SMALL JAIN BLACK STONE STELE Western India, dated samvat 1674 (1618AD) depicting Padmavati and Parsvanatha, the four armed yakshi seated holding various attributes in her four hands, a figure of Parsvanatha above, both under multiheaded cobra canopies, flanked by pairs of standing and seated jinas, devanagari inscription, including date on the reverse 20 x 12.5 x 5cm Although Padmavati and Parsvanatha seem the most likely attribution, the bird emblem on the front of the yakshi’s throne, is usually the emblem of Anantanatha, the fourteenth tirthankara. £1200-1500

136 136 A GANDHARA GREY SCHIST HEAD OF A BODHISATTVA North-West Frontier Region, India (now Pakistan), 3rd/4th century with moustachioed face, wearing a turban, mounted 14cm high

133 133 A FEMALE ATTENDANT Rajasthan or Madhya Pradesh, Central India, 11th/12th century buff sandstone fragment from a relief, standing in a niche with her right leg flexed, holding a chauri in her raised left hand, mounted 41cm high

£400-600

Provenance Private collection, Yorkshire £600-800

135 135 A GANDHARA STUCCO HEAD OF BUDDHA North-West Frontier Region, India (now Pakistan), 4th century with serene expression, his face with traces of pigment, his hair in regular waves, mounted 9.5cm high £200-300

134

137 137 A GANDHARA STUCCO HEAD OF A BODHISATTVA North-West Frontier Region, India (now Pakistan), circa 4th century turned to the right, with serene expression, wearing a turban with floral clasps, mounted 10cm high £300-400

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138

138 A SHRINE GUARDED BY A PAIR OF MAKARAS Central India, Probably Madhya Pradesh, 10th/11th century Buff sandstone, in the form of a North Indian temple tower, surmounted by a musician and female attendant, mounted 41.5cm high, 40cm wide, 21cms deep Provenance Simon Ray Ltd. 2008 Collection of the Late Bruno Cooper 2008-2012 Thence by descent Morley (Bruno) Cooper arrived in England from the USA in 1958 on a scholarship to Cambridge. After a successful academic career mostly at the University of East Anglia, he transformed what had been an absorbing hobby, dabbling in antiques, into a full career. Trading in the Suffolk town of Long Melford, he quickly established a reputation for the fine European furniture he stocked. Always restless, he eventually became bored the furniture market; he closed the shop, and, from then on, exhibited exclusively at international antique fairs where his reputation spread wider. His stock was characterised by his personal eclecticism; like a cabinet of curiosities. Towards the end of his life, his interests had focused increasingly on to Asia and Indian sculpture in particular. He died in August 2012. ÂŁ3000-5000

139

139 A FRAGMENTARY ROUNDEL DEPICTING A GANDHARVA Central India, probably Madhya Pradesh, circa 11th century pink sandstone, the flying four armed moustachioed deity wearing large disc earrings and crown, holding a garland in his primary hands, holding a sword and shield in his other hands, mounted on green marble stand 44 x 32 x 12cm Provenance Art Market, New York, 1980s Private collection, London, 1980s-2007 Millner Manolatos, 2 Campden Street, London, October 2007 Collection of the Late Bruno Cooper 2007-2012 Thence by descent (See footnote to lot 138) In Hindu tradition, gandharvas flit through the sky, acting as physicians to the gods and scattering flower petals from their garlands onto gods and heroes. For another gandharva figure of similar date and from the same region, see Balraj Khanna and George Michell, Human and Divine: 2000 Years of Indian Sculpture, London 2000, p.73. For possible Vidyadhara attribution see, Ronald M. Davidson; Indian Esoteric Buddhism: A Social History of the Tantric Movement (2002, Columbia University Press), pages 194-195. ÂŁ8000-12000

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140 140 A KUSHAN HEAD OF A YAKSHA Mathura, Uttar Pradesh, 2nd/3rd century pink sandstone, the grimacing face with pronounced eyebrows and bared teeth, mounted on bronze stand 22cm high Provenance Private collection, Zurich, acquired between 1945-1975 Christie’s Amsterdam, 20-21 November 2007, lot 524 Millner Manolatos, London, April 2008 Collection of the Late Bruno Cooper 2008-2012 Thence by descent (See footnote to lot 138) For a yaksha figure with strikingly similar facial features in the Mathura Museum, see R. C. Sharma, The Splendour of Mathura: Art and Museum, New Delhi 1994, p.107. Sharma describes the mysterious smile which is also evident in this example. Another yaksha, from Bareilly, can be seen in the National Museum, New Delhi (S.P.Gupta (ed.), Masterpieces from the National Museum Collection, New Delhi 1985, p.33. These yaksha figures carried bowls on their heads which contained riches for Siva to distribute to his devotees, which explains the flattened head of this sculpture and that of the National Museum. The example in Mathura retains its bowl. £2500-3500 35

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141 141 A SANDSTONE RELIEF PANEL DEPICTING UMA-MAHESVARA Central India, 11th/12th century The divine couple seated together in loving embrace, the four-armed Siva caressing his consort and holding attributes, while Parvati holds a mirror in her upper left hand, flanked by a pair of vyalas and various diminutive devotees, apsarases above and below 43cm Provenance Collection Robert Schrimpf, Paris.

Auction Fraysse et Associes, Paris (Hotel Drouot), 26/09/2007, lot 24. Collection of the Late Bruno Cooper 2007-2012 Thence by descent (See footnote to lot 138) ÂŁ6000-8000 36

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145

142 142 A GANDHARA HEAD OF A BODHISATTVA North-West Frontier Region, India (now Pakistan), 3rd/4th century with classical features, the waving hair tied in a loose topknot, mounted 21cm high Provenance Renzo Freschi Oriental Art, Milan, 2007 Collection of the Late Bruno Cooper 20072012 Thence by descent (See footnote to lot 138)

143 A GUPTA TERRACOTTA HEAD OF BUDDHA Central or Northern India, circa 5th century with plaited hair and headband, his remaining ear with elongated lobe, mounted 13.5cm high

144 A GANDHARA STUCCO HEAD OF BUDDHA North-West Frontier Region, India (now Pakistan), 4th/5th century with serene expression and bun-shaped usnisa, mounted 14cm high

Sold with a thermoluminesce certificate supporting a 4th-6th century dating, produced by Arcadia of Milan, dated 14.09.2005

£200-300

Provenance Carlo Cristi Arte Orientale 2007 Collection of the Late Bruno Cooper 2007-2012 Thence by descent (See footnote to lot 138) £1500-2500

145 FIVE GUPTA TERACOTTA HEADS Central India, circa 5th century Each with pronounced features and incised facial details, mounted on stands 8cm high and smaller (5) £300-400 146 A GUPTA TERRACOTTA FEMALE BUST Central India, 5th/6th century With prominent breasts, her right shoulder raised, wearing necklaces; and A Gupta Terracotta Fragmentary Lid or Finial, in the form of a seated female figure on waisted cylindrical base, the bust mounted on stand 26cm high (bust); 22cm high (lid) (2)

£2000-3000

Provenance Private collection, London; acquired at Sotheby’s London, 31 March 1982, lot 330 (bust), lot 320 (finial) £1000-1500

143

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147 A TERRACOTTA HEAD OF NANDI Gupta, Northern India, 4th/5th century Of stylised form, a beaded strap around his horns, collar round his neck, mounted on stand 17cm high £200-300

149 DALA’IL AL-KHAYRAT BY AL-JAZULI Ottoman, late 19th century Book of prayers, with illuminated headings and two coloured illustrations of interiors of the Holy Shrines in Makkah and Madinah, bound in embossed leather, 69 leaves 161 x 113mm £200-300

147

148 AN IMPORTANT AND EXTENSIVE COLLECTION OF ANCIENT EARRINGS Mostly Northern and Eastern India, Maurya-Kushan Period, circa 300BC300AD comprising 18 ivory ‘discal’ type ear ornaments with pierced centres, of various sizes, with concentric groove decoration on one or both sides and waisted outer edge; 7 solid ivory ‘discal’ ornaments of various sizes, each with concentric groove decoration on one or both sides, five with waisted, two with straight sides; 1 ivory cylindrical type ornament; 7 black and coloured jasper ‘discal’ ornaments, with waisted edges, plain convex sides on all but one, with radiating carved grooves on one side; 2 crystal ornaments, one ‘discal’, one cylindrical; 1 spherical steatite bead; 6 Burmese amber ornaments of uncertain date, two of the ‘peg’ type, and four cylindrical with red glass inlay; and a copy of Michel Postel, Ear Ornaments of Ancient India included in the lot The largest: 6.2cm diam, the smallest 1cm diam.(43) Provenance Private British Collection, acquired mostly in London during the 1990s

149

Postel (p.52-53), illustrates a group of ivory and bone earrings similar to several in this lot. He states that ivory earrings are less common than those in stone and terracotta, and the examples he publishes were found in Kausambi and Chandraketugarh. For closely-related jasper earrings in a variety of colours, also from Kausambi, see p.38f. Rock crystal earrings from Kausambi are illustrated on pp.39 & 51. Almost identical Burmese ‘pin’ type ear ornaments are illustrated on p.98, but similar examples are also worn by tribes on the Indian side of the border (pl.A 12.9, p.297). For similar amber ‘peg’ type ornaments, but without the inlay, see p.305; an old photograph on the same page illustrates a Munda girl from Bihar, wearing this type.The amber earrings clearly exemplify a very ancient tradition, but it is difficult to be precise about when these actual ornaments were made. £7000-9000

152 38

150 A FOLIO DEPICTING A SNAKE Probably Bijapur, Deccan, India, 16th century gouache with ink and gold on paper, from a dispersed treatise on astronomy, snakes on each side probably representing the constellation Serpens, the stars marked in gold, 9 lines of text on one side and a single line on the other, in Arabic with significant words in red, ruled margins 212 x 145mm £1000-1500 151 TWO FOLIOS FROM TWO DISPERSED MANUSCRIPTS India, 16th/17th century comprising an illuminated folio from a manuscript of Firdausi’s Shahnama, Bijapur, c.1610, 25 lines to the page written in four columns of elegant nasta’liq in black ink, heading written in thuluth script in red on a gold ground, inner margins ruled in gold, outer borders of coloured paper; and an illuminated folio from a manuscript of Persian poetry, on goldsprinkled paper, text written horizontally and diagonally in elegant nasta'liq script in black ink, illuminated corner pieces in colours and gold 200 x 120mm, 183 x 113mm (2) The page from Firdausi's Shahnama (Book of Kings) is from the same dispersed manuscript as four illuminated folios in the current exhibition at the Metropolitan Museum of Art, Sultans of Deccan India, 1500-1700: Opulence and Fantasy, which runs until 26th July 2015. The inventory numbers of the folios in the museum collection are: 1982.476.3, 1985.404.1, 1983.354.1, 1985.405.1 £200-300 152 A PERSIAN MANUSCRIPT FOLIO Probably Bukhara, 16th century and later ink with pigment and gold on paper, with illuminated headpiece over eleven lines of nastaliq script, four two line columns of script below a further illuminated band below, verso with later painting of a group of elders in a rural landscape 330 x 215mm approx. £150-250

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150

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153 153 DEVI SEATED ON A TERRACE Rajasthan, probably Jaipur, mid-19th century gouache on paper, inscribed with label in devanagari, traces of a partially obliterated inscription in English lower left corner, framed and mounted 315 x 214mm

155 155 A GROUP OF ELDERS Pahari, North-Western India, circa 1800 ink drawing with watercolour on paper, depicting six men seated around a table, each holding a rosary, inscribed with labels in devanagari and islamic script, framed and mounted 195 x 148mm (inside mount)

157 157 THREE ILLUSTRATED FOLIOS Rajasthan or Gujarat, 18th/19th century gouache and ink on paper, each with text in devanagari, comprising a small painting of Krishna reclining on the Ananta, a page from a Jain book with trio of illuminations including a monk with his broom, and a fragment depicting two men in conversation 120 x 245mm and smaller (3) £150-250

£300-400

The inscription reads: kameshwara yaye namah, an invocation to Siva as Kameshwara. £400-600

158 158 FIVE COSMIC DIAGRAMS (yantra) Rajasthan, India, 19th century ink on paper, one with polychrome gouache and laid on cloth, each with roundel inscribed in devanagari 640 x 710mm (5) £100-150

154 154 RAMA AND SITA ON A TERRACE Probably Mewar, Rajasthan, early 19th century ink drawing on paper, margin ruled in double red line 255 x 204mm approx.

156 156 A GROUP OF JAIN TEXTS Western India, 18th/19th century each with devanagari script, comprising a chart with yantra, four folios from a Jain sutra, and two fragmentary folios 524 x 514mm (yantra) and smaller (7-two of the folios stuck together) £200-300

£200-300

159 40

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159 THREE MINIATURE PAINTINGS India and Persia, 18th century and later gouache on paper, comprising a Rajput hunting scene, a Pahari holi scene and a Persian couple listening to a musician 174 x 255mm (3) £60-80

161 A PORTRAIT OF A MUSLIM RULER Deccan, Southern India, 18th century Gouache with gold on paper, wearing green brocade coat and turban, seated on a terrace with an attendant, mounted and framed 243 x 167mm (inside mount) £600-800

160 160 A PRINCESS WITH HER THREE SONS Probably Lucknow, India, early 19th century Gouache with gold on paper, the group in a domed pavilion within a palace courtyard, the orange border with islamic inscription at the top, mounted and framed 177 x 104mm

162 162 A THREE LEGGED DEITY Punjab, India, circa 18th century Gouache with gold on paper, possibly Bhrngi, the three legged devotee of Siva, five other deities perched on the fingers of his upper right hand, his other hands with trident, sword, and lotus, mounted and framed, with detached line of devanagari on the back 115 x 150mm

164 164 PORTRAIT OF A LADY Provincial Mughal, Northern India, 18th century Gouache with gold on paper, laid on a later album page, the image surrounded by scrolling floral arabesque border, mounted and framed 155 x 85mm (image) £800-1200

£200-300

£200-300

163 163 A LADY ON A WESTERN CHAIR Provincial Mughal, probably Lucknow, India, early 19th century Ink, gouache and gold on paper, mounted and framed 130 x 80mm inside mount £600-800

161

165 165 KRISHNA PULLS KAMSA FROM HIS THRONE Pahari, North-Western India, mid-19th century gouache with gold on paper, laid on wood panel 245 x 187mm The story is told in the Bhagavata Purana, of how, Kamsa, king of Mathura, was finally slain by Krishna wielding an elephant tusk, before being dragged into the River Jumna. £400-600

41

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166 166 PAHARI DRAWING OF AN ELEPHANT Punjab Hills, North-Western India, early 19th century Ink with gouache on paper, laid on a further sheet of paper, a numeral (?) inscribed in left corner 193 x 269mm £500-800

168 LOVERS ON A TERRACE Probably Sirohi, Rajasthan, India, circa 1700 gouache with gold on paper, black painted border, the princely couple in erotic embrace 217 x 124mm (image)

170 170 A WOMAN WITH A CAT Jaipur, India, early 19th century gouache with gold and on paper, the woman seated on a terrace, caressing the cat with her right hand, the image surrounded by concentric silver, blue and red border 208 x 143mm

£250-350

£200-300

168

167 167 LOVERS AT NIGHT TIME Bikaner, Rajasthan, India, 18th century gouache with gold on paper, the couple in erotic embrace on a charpoy under the night sky 205 x 141mm £400-600

169 169 ARI SINGH WITH RUPJI Mewar, India, circa 1770 Gouache with gold on paper, red border, framed 235 x 185mm Rupji was one of Ari Singh’s most faithful dhabais (foster brothers) and is often depicted at his side. £600-800

171 171 AN EROTIC SCENE Jaipur, Rajasthan, India, mid-19th century gouache with gold on paper, depicting a princely figure with his lover by a window in a bedchamber, cursive devanagari inscription on old accounting paper on the reverse 333 x 240mm £200-300

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176 GOVIND DEV JI Jaipur, Rajasthan, India, mid-19th century gouache with gold on paper, the image flanked by his two golden consorts, and devotees in an arched niche, mounted 255 x 180mm (main image) The Govind Devji Temple in Jaipur is said to contain the closest likeness to the god Krishna. The image was brought to the city from Vrindavan by Jai Singh II £150-250

172 172 KRISHNA AND THE GOPIS Malwa, India, first half 18th century gouache with gold on paper, the figures standing outside a palace, eight lines of devanagari script in red at the top, surrounded by scrolling floral border on red ground, two short lines of devanagari on the reverse 323 x 257mm

174 174 A GROUP OF SEVEN PAINTINGS Pahari, North Western India, second half 19th century gouache on paper, from a religious manual, depicting a bull, a ram, a god riding a ram, crab, a wandering mendicant, Krishna on Garuda, and a man with scales, each captioned in red devanagari script, further inscribed charts and diagrams on the reverse of each 155 x 127mm (folio) (7) £300-400

£100-150

173 173 A SCENE FROM THE BHAGAVATA PURANA Orissa, Eastern India, 18th century gouache on paper, depicting a procession of devotees, with captions in devanagari, seven lines of devanagari script below 250 x 372mm

177 177 KRISHNA AND THE GOPIS Jaipur, Rajasthan, India, mid-19th century gouache on paper, the gopis carrying waterpots, watched by their men folk, the god accompanied by Balarama, mounted 180 x 225mm £300-400

175 175 A SCENE FROM A HINDU EPIC Probably Bikaner, India, 18th century gouache with gold on three small joined sheets of paper, from a Hindu epic, depicting Krishna and Radha with their followers being confronted by a heavily armed group of men, a panel of nastaliq calligraphy on the reverse 297 x 135mm £300-400

178 178 A COURTESAN Jaipur, Rajasthan, India, second half 19th century gouache with gesso and gold on paper, reclining on a charpoy, smoking a huqqa, flanked by female attendants, mounted 311 x 235mm (folio)

For another page probably from the same series, see Amy Poster, “Realms of Heroism: Indian Paintings at the Brooklyn Museum”, Brooklyn, 1994, no.255. See also, Joachim Bautze: Lotosmond und Loewenritt: Indische Miniaturmalerei Stuttgart, 1992, p.54 £200-300

£200-300

176 43

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183 A RULER WITH HIS COURTIERS Probably Lucknow, first half 19th century gouache with gold on paper, mounted 187 x 370mm £300-400

179 179 A RULER ON HORSEBACK Mewar, Rajasthan, India, first half 19th century gouache on paper, accompanied by an attendant on foot, devanagari inscription on the reverse, mounted 255 x 203mm

181 181 A SCRIBE AT WORK Northern India, 19th century gouache on paper, red border, mounted 230 x 145mm £300-400

£300-400

184 184 A HOLY MAN WITH ATTENDANT Provincial Mughal, Northern India, circa 1800 gouache with gold on paper, laid on card 200 x 145mm £100-150

180 180 A LOVING COUPLE Jaipur, India, second half 19th century Gouache with gold on paper, the young couple standing at a window, mounted 254 x 201mm (folio)

182 182 HINDU DEITIES Punjab, India, mid-19th century gouache with gold on paper, the two paintings depicting Siva and a scribe, and Durga on her lion with Krishna 155 x 108mm £150-250

£120-150

185 185 YASHODA AND KRISHNA Bundi, Rajasthan, mid 19th century gouache with gold on paper, depicting Krishna on his mother’s knee, watched by his brother, Balarama, two lines of devanagari script on upper border, mounted 110 x 160mm visible area £120-150

183 44

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188 188 SCENE FROM THE BHAGAVATA PURANA Orissa, Eastern India, 18th century gouache on paper, depicting devotees tending a ritual fire, five lines of devanagari script below 247 x 370mm 186 186 YASHODA AND KRISHNA Kotah, Rajasthan, mid-19th century gouache on paper, depicting Krishna on his mother’s knee, watched by his brother, Balarama, mounted 175 x 140mm (main image) £120-150

187 187 A DRAWING OF A MEWAR NOBLEMAN Rajasthan, circa 1800 ink and gouache on paper, two lines of devanagari script above, mounted 190 x 152mm approx. £600-800

For another page probably from the same series, see Amy Poster, “Realms of Heroism: Indian Paintings at the Brooklyn Museum”, Brooklyn, 1994, no.255. See also, Joachim Bautze: “Lotosmond und Loewenritt: Indische Miniaturmalerei” Stuttgart, 1992, p.54

190 190 THREE INDIAN DRAWINGS Northern India, late 18th century ink on paper, each laid on backing paper, depicting a ruler with a flower, a vestigial devanagari inscription above, a Pahari ruler seated smoking a huqqa, and a priest holding a book(?), mounted 200 x 120mm and smaller (3)

£300-500

£300-500

Provenance Christie’s London, 1 April 1982, lot 114

189 189 FOUR RAJPUT DRAWINGS North-Western India, late 18th/early 19th century ink and watercolour on paper, laid on card, comprising a prince carried on a human swing, a zenana scene, a ruler on a rearing horse and a pair of fighting camels 150 x 220mm and smaller (4)

191 191 TWO FOLIOS FROM AN EDITION OF THE BHAGAVATA PURANA Probably Mewar, India, 1600-1620 in landscape format, gouache and ink on paper, one double sided, each side with devanagari text and illuminations to the right of the page, one depicting Krishna resting with the cowherds, the other cranes and ducks by a waterfall; the other folio with two extra lines of devanagari in a different hand, probably added later, the illustration to the right showing Krishna and his companions in a pavilion by the river, teeming with fish 175 x 345mm; 174 x 343mm £400-600

£200-300 45

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194 194 KRISHNA HIDES IN THE ROCKS Rajasthan, India, circa 1800 gouache with gold on paper, depicting Krishna and his companion hiding while a group of men search in the rocky hills, some with faces of men and animals, a devanagari inscription in the upper border and on the reverse 120 x 167mm (image) 192 192 PORTRAIT OF A WOMAN Provincial Mughal, 18th century gouache with gold on paper, laid on an album page, with dual scrolling floral border, the woman with curly black hair, drinking from a gold wine cup, old inscription in French on the reverse 273 x 180mm (folio)

£100-150

196 196 KRISHNA PUTS ON HIS TURBAN Mewar, Rajasthan, India, 18th century gouache on paper, probably from a ragamala series, the god seated on a throne in a palace courtyard, accompanied by attendants, one holding a mirror, two lines of devanagari script on yellow ground at the top 278 x 215mm £600-800

£400-600

193 193 A HERMIT IS VISITED BY AN ANGEL Mandi, Punjab Hills, India, 18th century Gouache with gold on paper, the hermit seated by a fire outside his hut, the winged angel descending from the sky, bearing a gift (?), numerals in ink on the reverse 106 x 171mm £400-600

195 195 RADHA SEPARATED FROM KRISHNA Mewar, Rajasthan, India, 18th century gouache on paper, probably from a ragamala series, Radha depicted calling out for Krishna by the riverbank, while her lover waits in a rustic dwelling on the other side of the mountains, two lines of devanagari script on yellow ground at the top 278 x 211mm £600-800

197 197 A YOUNG PRINCE Deccan, Southern India, c.1700 gouache with gold on paper, laid on card, indistinct collection stamp on the reverse 145 x 88mm £300-500

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202 BHATI JUJHAR SINGH OF MOHI Mewar, Rajasthan, India, second half 19th century gouache with gold on paper, carrying a sword and shield, a katar and knife tucked in his belt, inscribed on the reverse ‘Bhati Jujhar Singhji of Mohi’, mounted 235 x 163mm (image)

200 200 SIVA RIDING NANDI Rajasthan, early 19th century gouache and black ink on paper, thin yellow border 67 x 118mm

Private Collection The Thikana of Mohi is situated a few miles north of Nathadwara in Rajasthan £400-600

£120-150

198 198 A PRINCESS FEEDS A PEACOCK ON A STORMY NIGHT Mewar, Rajasthan, India, 18th century Gouache on paper, from a ragamala series, two lines of devanagari script on yellow ground at the top 274 x 213mm £700-900

201 201 A FOLIO FROM A JAIN SUTRA Gujarat, Western India, 15th century gouache and ink on paper, of horizontal form, the two columns comprising on the left, thirteen lines of devanagari script, with extra lines of annotation and significant words in red, the right column with two illustrations, the reverse similarly inscribed with text only 107 x 255mm approx.

203 203 PORTRAIT OF A NOBLEMAN Bikaner, Rajasthan, India, 19th century gouache with gold on paper, the man depicted leaning on a crutch, three lines of devanagari script and Bikaner royal stamp on the reverse, mounted 225 x 138mm (image) £600-800

£200-300

199 199 A SCENE FROM A RAGAMALA SERIES Amber, Rajasthan, India, second half 18th century gouache with ink and gold on paper, laid on an album page, depicting a princess with an attendant in a palace, while Krishna sits in an upstairs apartment, five lines of devanagari text above on yellow ground 282 x 156mm £800-1200

202

204 204 A PORTRAIT OF A RULER Mewar, Rajasthan, India, first half 19th century gouache with gold on paper, the figure riding a bay horse, accompanied by three attendants on foot, cursive devanagari inscription and other sketches on the reverse, mounted 347 x 233mm (folio) £1000-1500 47

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206 206 A SMALL PICHHAVAI Rajasthan, Western India, early 19th century pigment with gold on cotton, of horizontal rectangular form, with six scenes, depicting (clockwise from top left): Radha and Krishna in a palace, Krishna and Balarama in conversation with two noblemen, Krishna and Balarama entering a palace, Krishna and Balarama in conversation with one of the noblemen, the nobleman leaving the city in a chariot and a meeting in the palace 51.5 x 148cm

207 SRI NATH JI Nathdwara, Rajasthan, second half 19th century gouache on paper, the typical stylised form of Krishna in dancing pose, with raised left arm holding a lotus 265 x 142mm Provenance Private collection, London £80-120

Provenance Private collection, London £2000-3000

205 205 A TANTRIC INSTRUCTIONAL SCROLL (pataka) Rajasthan, Western India, 19th century ink and pigment on cloth, of long rectangular form, painted on one side with figures of Ganesha, mythical animals and devotees amidst charts and lists and numerous lines of devanagari script, the reverse inscribed in devanagari 205 x 21cm

208 208 SRI NATH JI Nathdwara, Rajasthan, second half 19th century gouache on paper, the typical stylised form of Krishna in dancing pose, with raised left arm, on yellow ground with red border 231 x 142mm (image)

Provenance Private collection, London

Provenance Private collection, London

£400-500 48

207

£80-120

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212 KRISHNA VENUGOPALA Bikaner, Rajasthan, India, 18th century Gouache with gold on paper, Krishna as a young man playing his flute while standing on a lotus in the river, his left hand resting on a cow, framed 206 x 115mm (main image) Provenance Property of a Retired Diplomat, acquired in India during the 1950’s

209 209 THE CHURNING OF THE OCEAN (samudramanthana) Rajasthan, probably Bundi, 19th century gouache on paper, depicting Vishnu on Mount Mandara surrounded by other deities, pulling at Vasuki, king of the nagas 295 x 409mm Provenance Private collection, London This story of the creation is told in the Mahabharata and some of the Puranas. £200-300

£400-600

211 211 A MEWAR PORTRAIT OF A RULER Rajasthan, probably Udaipur, late 18th century Gouache with gold and silver on paper, the figure depicted on horseback, holding a javelin, two inscriptions in devanagari on the reverse, mounted and framed 283 x 197mm (visible image); 335 x 240mm (folio) Provenance formerly in the collection of Rudolf von Leyden (1908-1983) patron and Art Critic of The Times of India, thence by descent. £1500-2500

213 213 SIX PAINTINGS PROBABLY FROM A RAGAMALA SERIES Amber, Rajasthan, India, 18th century Gouache with silver and gold on paper, each with devanagari inscription at the top, depicting a prince and princess going riding, a princess having her feet massaged, a prince leading his lover to his bedchamber, the prince embracing his love in a pavilion, and the princess sitting on a bough listening to her lover playing music Individually framed 188 x 125mm each (6) Provenance Property of a Retired Diplomat, acquired in India during the 1950’s £800-1200

210 210 SIVA SEATED ON A TERRACE Probably Jaipur, Rajasthan, India, mid-19th century gouache with gold on paper, the god seated on a tiger skin, resting against a bolster 290 x 280mm Provenance Private collection, London £300-400

212

214 214 THE TAJ MAHAL Company School, probably Delhi, late 19th century gouache with ink and bodycolour on card, mounted 344 x 435mm £400-600 49

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217 KANCHENJUNGA FROM DARJEELING Anglo-Indian School, 19th century Monochrome watercolour on paper, framed 480 x 660mm Until the mid-19th century Kanchenjunga, a mountain considered holy by local Hindus and Buddhists, was thought to be the highest in the world. At 28,169, it is about 900 ft lower than Mount Everest and dominates the views from the hill station of Darjeeling.

215 215 VIEW OF PILGRIMS AT MECCA Indian School, circa 1900 gouache with bodycolour on card 342 x 432mm

£600-900

£300-400

218 218 TWO ARTISAN COUPLES Company School, Patna, first half 19th century watercolour on paper, comprising basketmakers and millers, framed 185 x 150mm (2) 216 216 TWO AVATARS OF VISHNU Trichinopoly, South India, second half 19th century two gouache paintings on paper, depicting Vamana and Kurma, English inscriptions in pencil, reading ‘Dwarf Avatar’ and ‘Fish Avatar’, framed 280 x 185mm & 295 x 185mm (2)

£300-400

220 220 TWO INDIAN COUPLES Company School, Malabar Coast, early 19th century two watercolours with ink and gold on paper, each labelled in English, mounted 130 x 195mm (main image) (2) The inscriptions read: First woman: ‘Ittee or Poatty Ammah; None [probably referring to employment]’; First man: ‘Potty; Heathen Priests’, Second man: ‘Brahmin or Pauppan; Holding Public Employments and heathen priests and Astrologers’; Second woman: ‘Brahmanathee or Papauthee; None’. £300-400

£100-150

217

219 219 ERNEST COSTIN British School, Early 20th Century Two South Indian Scenes, watercolour on paper, mounted 305 x 190mm (2) £200-300

50

220A

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220A ANGLO-INDIAN SCHOOL Two dated 1904 Four scenes near the North-West Frontier watercolour on paper, framed as a set, each identified with inscriptions reading: i. Bahul, from Dak Bungalow, Takht-iSuleiman, ii. Bahadur Kheyl, Wast. 4.12.04, iii. Bahadur Kheyl East, 4.12.04, iv. Kohat Fort, 30 Nov. 180 x 250mm approx. each (4 in one frame) Takht-i-Suleiman, ‘Throne of Solomon’, is a name commonly used for flat topped mountains in the Middle East and Asia.

Here it refers to a well known peak in the Tribal Areas of modern Pakistan. Bahadur Khel is a district known for its salt mines since British times, in the Khyber region.

Kohat was an important military base in British times with the fort at its heart, built in the early 19th century.

221A 221A ANGLO-INDIAN SCHOOL Late 19th century A Bungalow Watercolour on paper, framed 185 x 285mm £300-500

£400-600

223 223 FOUR INDIAN COUPLES Tanjore, South India, early 19th century gouache on paper, comprising a barber and his wife, a painter and his wife and two priests with their wives, mounted separately 252 x 200mm (visible area) £600-800

221 221 FOUR INDIAN CHARACTERS Company School, Patna, Eastern India, circa 1800 watercolour on paper, each captioned in English, comprising A Mussulman, Hookah bardah, Nautch girl or Dancing girl and another of a man (caption illegible), each mounted 250 x 175mm (average size) (4)

222 222 TWO INDIAN COUPLES Company School, Trichinopoly, South India, early 19th century watercolour on paper, each captioned in English, comprising A Barber’s Wife, A Barber, A Brahmin’s Wife, and A Brahmin mounted in two groups 143 x 118mm approx each (4)

224 224 TWO INDIAN CHARACTERS Company School, Lucknow or Patna, mid19th century Watercolour on paper, comprising a nautch girl on a veranda, and a Parsi man carrying a basket, mounted and framed 200 x 160mm; 180 x 125mm (inside mount) £400-600

£200-300

£400-600

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227 TWO COMPANY SCHOOL PAINTINGS OF AGRA TOMBS Agra or Delhi, early 19th century watercolour on paper, each showing a tomb at Agra decorated with pietra dura inlay work, one with stylised floral designs throughout, the other with a frieze of thuluth script on the upper section 256 x 357mm; 247 x 352mm approx (2) £600-800

229 TWO PORTRAITS OF INDIAN RULERS Northern India, late 19th century comprising a painted photograph of Maharaja Sawai Ram Singh II of Jaipur, depicting the moustachioed figure wearing a blue coat, seated on a gilt chair, holding a jewelled sword, the other a gouache portrait of a bearded figure wearing spectacles, seated on an upholstered chair, framed 550 x 395mm approx. each £500-800

225 225 FIVE STUDIES OF AGRA INLAY WORK Company School, Delhi or Agra, mid-19th century Watercolour on paper, each depicting floral pietra dura designs from the Taj Mahal, mounted and framed spearately 180 x 130mm (inside mount) and smaller (5) £400-600

226 226 TWO INDIAN CHARACTERS Company School, Lucknow or Patna, mid-19th century Watercolour on paper, one depicting a sleeping scribe, the other a water-seller, mounted and framed 158 x 109mm; 143 x 108mm

228 228 A ROSEATE TERN AND A FEMALE ‘PITTA’ Company School, Patna, India, early 19th century gouache on English paper, each bird labelled in devanagari and islamic script 310 x 203mm (max dimension of folio) £150-250

230 230 A TURKISH LADY Gujarat, Western India, 19th century reverse painting on glass, the woman depicted wearing a pink tunic and blue sash, a tiara in her hair, framed 50 x 35cm Reverse glass painting was a technique first seen in China. During the 18th century, paintings made for the Indian market started to be produced, and by the 19th century, Indian artists near the trading posts of Cutch had also begun to paint on glass.

£250-350

£300-500

227 52

229

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235 PORTRAIT OF A MAHRATTA RAJA Central India, second half 19th century gouache with gold on paper, mounted 370 x 305mm £250-350

233 233 B. MAJUMDAR India, 20th century Bengal village scene, oil on canvas 305 x 410mm £600-800

231 231 A KALIGHAT PAINTING DEPICTING PARASHURAMA Calcutta, Eastern India, 1870-80 gouache with silver paint on paper, inscribed in Bengali and English at the bottom, framed 390 x 270mm Provenance Eyre and Greig, circa 2000

236 236 A PRIEST WITH ATTENDANTS Northern India, late 19th century gouache with gold on paper, the elderly figure seated cross-legged in an interior with two male attendants, an inscribed placard in front, mounted 355 x 260mm

Parashurama ‘Rama with the axe’ is described in conflicting stories, but is best known as the sixth avatar of Vishnu. He is depicting here killing one of the Kshatriyas who had disrupted the social order. £300-500

£200-300

234 234 A YOUNG FLAUTIST Bengal School, Eastern India, 1910-1920 watercolour on paper, mounted 301 x 201mm £200-300

237 237 A SIKH COURT SCENE North India, probably Delhi, 20th century depicting a ruler on a terrace, flanked by attendants and noblemen, a veena player in the foreground, framed 500 x 685mm

232 232 PORTRAIT OF A NOBLEMAN Rajasthan, Western India, 19th century gouache with gold on paper, the plump figure depicted seated at a balcony, framed 330 x 230mm (image) £600-900

£600-800

235 53

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238

239 241 238 WOLFRAM ONSLOW FORD (British 1879-1956) Portrait of a Young Indian Prince Oil on board, signed W. ONSLOW FORD at the bottom, framed 450 x 330mm For a similar portrait by the same artist sold recently, see Christie’s South Kensington, 22nd January 2013, lot 681 £1200-1500

240

239 A COURTESAN Western India, probably Gujarat, 19th century reverse painting on glass, framed 41.2 x 33.5cm Provenance Private collection, London £600-800

54

240 TWO GENTLEMEN The Indian Art Studio, Bombay, early 20th century Photographic studio portrait, framed 283 x 230mm Provenance Private collection, London £120-150 241 A LARGE LACQUERED AND GILDED BRONZE FIGURE OF BUDDHA Bangkok, Thailand, late 19th century seated in sattvasana with hands in padmasana, wearing brocaded robes, with long earlobes and tightly curled hair, his eyes with mother-of-pearl inlay, his head with domed usnisa 80cm high £4000-6000

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242 242 A GILT-LACQUER FIGURE OF BUDDHA Burma, 19th century seated in padmasana on a lotus throne, his hands in bhumisparsa and dhyana mudra 24.5cm high £200-300

244 244 AN ANGKOR WAT HEAD OF A DEITY, PROBABLY VISHNU Cambodia, second half 11th century grey sandstone, wearing elaborate flared crown and conical headdress, the decoration and face with incised details, mounted on Welsh slate stand For a complete figure in closely related style from Siem Riep, see Madelein Giteau, Khmer Sculpture, Thames and Hudson, London, pl.37 Provenance Bruckmann Collection, London, Acquired in 1960s. (A valuation of this sculpture for insurance purposes prepared by Spink and Son in June 1969 on behalf of Mr. Bruckmann is included with this lot) Collection of the Late Bruno Cooper 2011-2012 Thence by descent (See footnote to lot 138)

For a bronze die, made to produce almost identical votive plaques, see 7-10 April 2014, lot 109

Peter Bruckmann was born in 1918. After university he joined the army and was dispatched to Shanghai, but in 1942 he was captured by the Japanese and held as a POW for the remainder of the war, although he was later awarded the rank of Captain for distinguished service.He took great interest in art and antiques and in fact was related to the Kroller Muller family in Holland, whose collection is now housed in a world renowned museum. His first purchases of Indian, South East Asian, and New Guinea objects date back to the early 1960s and he was frequently in touch with Philip Goldman (Gallery 42), Phillip Wengraf (the Arcade gallery) and the flamboyant collector and defrocked priest, Dominique de Grunne. Peter enjoyed collecting and visiting the salerooms and he became a patron to several contemporary artists. He was a highly successful businessman, running a brickworks until his retirement in the 1980s. His house in Spain was filled with paintings and sculptures, and he lived there with his partner, Coralie until his death on the 10th June 2010 aged 92.

£150-250

£3000-4000

243 243 A BAYON VOTIVE PLAQUE Cambodia, late 12th/early 13th century Moulded terracotta, in the form of a shrine, with central figure of Hevajra, tiers of diminutive deities above and below, mounted 15.2 x 8 x 2.5cm

55

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247 247 SIX PUJA SPOONS India, circa 19th century comprising three bronze and two brass spoons with cobra finials, the other of brass with bud finial, the bowl with a pair of adorsed parakeets 22.7cm and smaller (6) Provenance Private collection, Yorkshire £200-300

245 245 AN ANDESITE FIGURE OF GANESHA Java, Indonesia, 9th/10th century The plump elephant-headed four armed Hindu deity seated on a double lotus throne, feeding himself sweets with his trunk out of his left hand, his hair gathered in a bun with a band 68cm Provenance Private collection, London. Acquired from the Swedish dealer and collector Max Willborg (1933-2001) in 1969/70.

Exhibited Spink and Son, London, 1978 (illustrated in catalogue, no.147). £4000-6000

246 246 TEN PUJA SPOONS South India, 17th/18th century bronze, each with circular bowl and slender shaft, six with finials in the form of dancing Krishna, one with adorsed figures of Hanuman and Garuda, one in the form of a cobra canopy, one in the form of Lakshmi-Narayana and the other in the form of a Vaisnavite saint(?)

17cm and smaller (10) Provenance Private collection, Yorkshire £600-800

56

248 248 SEVEN PUJA SPOONS India, 19th/early 20th century brass, two with circular bowls and finials in the form of Krishna, three with figures of Ganesha, one with abstract decoration, the other with egg-shaped bowl and Garuda finial 16.7cm and smaller (7) Provenance Private collection, Yorkshire £200-300

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253 FOUR BRONZE BOXES India, 18th-19th centuries comprising a rectangular jewellery casket, and three cylindrical limepots 15.5 x 15.5 x 15cm and smaller (4) Provenance From the collection of the late Sandy Morton £200-300

249 249 A GANGAJUMNA LOTA Tanjore, Tamil Nadu, South India, early 19th century copper with brass inlay, with incised stylised floral decoration 16.2cm high

251 251 TWO GANGAJUMNA POTS Deccan, Southern India, 19th century brass with copper inlay, each of rounded form, the sides with incised and inlaid strip designs 9, 8.2cm high (2) Provenance Private collection, Yorkshire

254 254 A BRONZE LOTA Kerala, 18th/19th century bulbous body and ridged sides, scrolling spout, standing on flared foot 18cm high

£150-250

Provenance Private collection, Yorkshire £300-400

£100-150

252 252 THREE PUJA STANDS India, 18th/19th century brass, in the form of miniature tables, the larger with openwork raised edge 4.5 x 13 x 11cm and smaller (3) Provenance Private collection, Yorkshire £60-80

255 255 A LUCKNOW ENAMEL HUQQA COVER Eastern India, circa 1800 in two sections, silver-gilt, of bulbous form, with incised openwork and polychrome enamel decoration depicting hunting scenes in a forest setting, the domed pierced lid with hamsa finial 13cm high

250 250 A PUJA POT AND SMALL SPITOON(?)

Tanjore and Kerala, 19th century the ‘swamy’ work puja pot of brass with copper applique, of octagonal form, the sides with images of avatars of Vishnu in low relief, the spitoon of turned circular form, with faceted sides and overhanging rim 7cm high and smaller (2) Provenance Private collection, Yorkshire £200-300

253

The enamel work of Lucknow, with its multiplicity of colours and combination with incised and gilded silver is one of the most admired later Mughal luxury crafts.

For another section of a huqqa, and a complete ensemble, see Stephen Markel and Tushara Bindu Gude (ed.), The Art of Courtly Lucknow. Los Angeles County Museum of Art 2010, p. 208 & 209 £1000-1500 57

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260 A BRASS SPOUTED WATER POT (lota) Deccan, Southern India, 18th century The bulbous ribbed body on rim foot, the waisted neck with overhanging rim, ithyphallic spout 16.5cm high The phallic form of the spout indicates this vessel’s ritual use in the cult of Siva

256 256 A SILVER-GILT BAZUBAND Northern India, 18th century the central octagonal medallion opening as an amulet box, flanked by two hinged bud elements 10cm long, mounted on stand

258 258 A STEEL FLINTSTRIKER Deccan, Southern India, 18th century the ends in the form of makara heads, linked with elephant head 14cm long

£200-300

£300-400

Provenance Private collection, Japan Millner Manolatos, London 2009 Private collection, Scotland

261 261 AN INCISED COPPER BOWL Deccan, India, 17th century Of squat form, with bulbous body and waisted neck and overhanging rim, the neck with a band of islamic calligraphy, the body with arabesque decoration and dedicatory cartouche(?)

£200-300

259 259 A SILVER BETEL BOX Malaysia, late 19th century In the form of a pumpkin, the lobed sides decorated with alternating panels of leaf and lozenge designs 20.5cm high

11.7cm high; 27.5cm wide £400-600

£200-300

257 257 A MUGHAL BRASS EWER Probably Lahore, Punjab, India (now Pakistan), 18th century Of pear shaped form, on four bracket feet, with stylised layered foliate design in low relief, the incised detail inlaid with zinc(?) and black lac, the scrolling handle with bud finial, the straight spout with chevron design 25cm high

262 262 A BIDRI SALVER Deccan, Southern India, early 19th century Alloy, inlaid with silver, the decoration comprising a central floral medallion, surrounded by a radiating floral trellis, the cavetto with stylised acanthus

For a related ewer, see Mark Zebrowski, ‘Gold, Silver and Bronze from Mughal India’, no.228 £300-500

19.3cm diam 260 58

£150-250

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263 263 A BRASS TURBAN BOX Northern India, circa 1800 Of broad tapered circular form, the hinged domed lid with lotiform central medallion, the exterior profusely decorated with animals, figures and birds amidst scrolling foliage 18cm high; 29cm diam

265 265 A DECCANI KATAR Southern India, 17th century with tapered steel blade, the hilt in the form of a double bar with twin crosspieces, the openwork bars and blade attachment plates decorated with Vaisnavite avatars, traces of gilding and silvering on hilt, later red velvet scabbard 43cm long £2000-3000

267 267 A COPPER REPOUSSE VOTIVE PLAQUE Himachal Pradesh, northern India, 19th century In the form of a columnar niche with cusped arch, depicting a sivalingam on yoni base, a figure of Nandi in front, flanked by devotees, a row of further devotees below, mounted on stand 8 x 5.7cm

For an earlier turban box with similar decoration, see Mark Zebrowski, ‘Gold, Silver and Bronze from Mughal India, pls.484a-e £150-250

£80-120

264 264 AN IRON AXE-HEAD (zaghnal) India, circa 17th century steel, of blade of tapering curved form, a pair of adorsed lions at the base and elephant on the pean, a square slot for shaft attachment 25.5cm long For an almost identical complete zaghnal, see George Cameron Stone, A Glossary of the Construction, Decoration and Use of Arms and Armour in All Countries and in All Times, Portland, ME, 1934, fig.874-4 £800-1200

266 266 A BRONZE MIRROR Western India, late 19th century in the form of an openwork architectural facade, with mirrored central opening surmounted by a cusped arch, flanked by jali windows, inscribed in devanagari at the bottom: Nand Kishore Devi Ke Charano Me (“Nand Ksihore has donated this to the Devi’s temple”) 51.5 x 43.5cm £800-1200

268 268 A LARGE PAIR OF BETEL CUTTERS Northern India, late 19th century brass, with iron cutter blade, in the form of a man and stylised woman(?) in sexual congress, the sides with incised designs, the man with beard, and hair tied in a bun 25.5cm high Provenance Private collection, London £60-80

59

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269 269 A PAIR OF BRASS CHILD’S SANDALS (paduka) Probably Western India, 18th/19th century on raised bracket supports, each with single lotiform toe grip, traces of incised stylised foliate decoration 9cm high; 17cm long (2) Provenance Private collection, London £150-250

271 271 A LARGE LINGAM COVER Western Deccan, Probably Maharashtra, 19th century cast brass, in the form of a domed head of Siva, wearing cobra earrings, amulet pendant and neat turban, his face with scrolling moustache, a third eye on his forehead 28cm high

273 273 SIX INLAID METAL PLATES India, 19th century comprising a koftgari plate, iron with gold and silver damascene decoration, foliated rim; three Lucknow bidri plates, alloy inlaid with silver, with fish and flower motifs in relief; and two Deccani bidri dishes, with geometrical, foliate and bird designs 19.5cm diam. and smaller (6) Provenance Private collection, London £400-600

Provenance Private collection, London £1200-1500

270 270 A DECCANI BRONZE OIL LAMP Southern India, circa 16th century in the form of a bird, small spout below its chest, a hinged wick holder below its feet, with incised stylised feathers, a suspension chain attached by loop on its upper neck 45cm high (including chain); 25cm long Provenance Private collection, London The tradition of zoomorphic vessels from Islamic India, most commonly lamps or acquamaniles in the form of birds, derives from Middle Eastern objects, the earliest examples dating from Abbasid Mesopotamia. For the early prototypes and examples from India, see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London 1997, p.96ff £300-500

60

272 272 A BIDRI TRAY Deccan, Southern India, circa 1800 alloy inlaid with silver, of elongated octagonal form, with raised rim, decorated with a reticulated lotus design, around a central arabesque and lotus medallion 29.5 x 22 x 1.5cm

274 274 A BRONZE AND STEEL DAGGER Deccan, Southern India, 18th century the hilt in the form of a parakeet 23cm long

Provenance Private collection, London

Provenance Private collection, London

£800-1200

£250-350

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279 A LUCKNOW ENAMEL HUQQA COVER Eastern India, late 18th century silver-gilt enamel, of bulbous form, with incised openwork and polychrome enamel decoration depicting animals amidst dense vegetation, the domed lid with peacock finial, six crescent-shaped similarly decorated pendant ornaments with bells attached with chains to the neck 15.5cm high (excluding chain and pendants) Provenance Property of a Lady, London

275 275 A MUGHAL BRONZE EWER Northern India, circa 18th century of pear-shaped form, with scrolling handle and semi-faceted strait spout, hinged domed lid, standing on four shallow bracket feet, the sides with vestigial incised decoration, an inscription in Bengali(?) on one side 28.5cm high

277 277 TWO LURISTAN BRONZE BRACELETS Persia, 8th/7th century BC The larger of flattened circular section with ridge decoration around the edges, the other of open circular form, with incised chevron designs 12cm, 11cm diam. (2)

The enamel work of Lucknow, with its multiplicity of colours and combination with incised and gilded silver is one of the most admired later Mughal luxury crafts.

For another section of a huqqa, and a complete ensemble, see Stephen Markel and Tushara Bindu Gude (ed.), The Art of Courtly Lucknow. Los Angeles County Museum of Art 2010, p. 208 & 209 £1200-1500

£150-200

Provenance Private collection, London £200-300

278 278 FIVE METAL BIRDS AND FISH India and Persia, 19th century comprising two Qajar steel birds, an Indian brass hamsa, an Indian brass crow on circular base, and an Indian brass powder flask in the form of a fish 16cm long and smaller (5) £200-300

The inscriptions read: ‘mohr-e niyabat-e karim al-din khadem-e shar’ qadi almu’tasim bi-fadl allah al-matin 1177 sana 4’; “The seal of deputyship of Karim alDin, servant of the law, the judge who holds steadfast onto the strong favour of God, 1177 (regnal) year 4”.The other reads ‘mohr-e niyabat-e salah al-din khadim alshar’ qadi’ al-mu’tasim bi-habl allah almatin 1240 (?)’; “The seal of deputyship of Salah al-Din, servant of the law, the judge who holds steadfast onto the strong rope of God 1240 (?)”.

276 276 AN OIL LAMP AND A SMALL POT Kerala; Lahore, 19th; 17th century the lamp of turned brass, in two sections with bayonet attachment, the upper part inscribed in malayalam; the pot of bulbous form with zinc inlaid arabesque decoration on the sides 31cm; 6.6cm (3) £200-300

280 280 TWO BRONZE OFFICIAL’S SEALS Mughal India, dated AH 1240(?)/AD 1824-5; AH 1177/AD1763-4 Each of conical form, the earlier with faceted sides, each with loop attachment at the tip, the stamp plate reverse inscribed in nastaliq script 4cm, 4.5cm high (2)

£150-200

279

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281 281 A SET OF GILT HORSE DECORATIONS Central Asia, circa 13th century Each with repousse design in relief, two in the form of a rosette, three in the form of quatrefoil floral medallions, one in the form of a palmette, two in the form of crescents, the remaining twelve of butterfly shape, display box 3.1cm diam and smaller (18)

283 283 A BRASS PALANQUIN FINIAL Probably Deccan, Southern India, 19th century brass, in the form of a makara head, with scrolling trunk, large fangs and projecting tusks, the cylindrical body separately cast with ridged and stylised leaf decoration 38cm long

285 285 AN ARMENIAN BRASS SCRIBE’S BOX (QALAMDAN) Eastern Anatolia, 19th century the long rectangular pen compartment with hinged lid, surmounted by a crown finial, the waisted inkpot, with hinged opening in the form of a scallop, with incised leaf decoration and line of armenian script running along the top 25cm long

Provenance Private collection, London

Provenance Private collection, London

£600-800

£120-150

Provenance From a private collection formed in the 1950s, inherited by the vendor in 1986 £800-1200

282 282 A SILVER HINDU SHRINE Deccan, Southern India, late 19th century in the form of a lotus flower, with eight hinged petals each with a repousse deity, including Vishnu, Brahma and Indra, inscribed in Telugu, arranged around a central yoni set on an inscribed yantra 25.5cm max diam.

Provenance Private collection, London £120-150

286 286 A TURQUOISE GLAZED TILE Persia, 13th/14th century glazed fritware, of rectangular form, a line of applique relief Arabic lettering 28 x 33cm The inscription is part of Surat al-Ikhlas (Qur’an 112), verses 3 -4 [lam] yalid wa lam yu[lad] ‘[He neither] begets nor is born’

284 284 A BRASS ALAM Probably Deccan, Southern India, 19th century of typical form, with pierced and incised decoration, the base with socket for pole 72cm long Provenance Private collection, London £120-150

62

Provenance Saeed Motamed, Frankfurt £1500-2000

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287 287 TURQUOISE GLAZED TILE Persia, 13th/14th century glazed fritware, of trapezoidal form, applique relief Arabic lettering 27 x 25 x 2.5cm max. dimensions

290 290 TWO IZNIK BORDER TILES Ottoman Turkey, mid-17th century Underglaze painted fritware, each with scrolling floer and saz leaf design, with red and turquoise details on cobalt ground 12.8 x 25.5cm; 12.8 x 24.5cm

The inscription is part of Surat al-Ikhlas (Qur’an 112), verses 3 -4 wa lam [yakun lahu kufuwann ahad] ‘Nor is [there to Him any equivalent].’

£500-700

Provenance Saeed Motamed, Frankfurt £700-900 288 A GROUP OF DIYABAKIR BORDER TILES Ottoman Anatolia, late 16th century polychrome underglaze painted fritware, the design forming a repeated pattern of interlinked split palmettes held by ‘Italian clasps’ and interwoven with arabesques, each with ropework and plain turquoise edging, framed as a panel 29.5 x 101cm (together), individual tiles various lengths, 14.5cm high There are tiles of the same design in the Potteries Museum, Stoke on Trent (311P52) and the Powerhouse Museum, Sydney, Australia A9636-19

289 289 TWO QAJAR TILE PANELS Persia, mid-19th century Polychrome-glazed cuerda seca terracotta, framed in two groups of twelve, each depicting a vertical row of classical cartouches containing portraits of young princes and princesses, on yellow ground filled with rose motifs 116 x 29cm (each panel excluding frame) (2)

291 291 A QAJAR CUERDA SECA TILE PANEL Persia, 19th century Polychrome glazed earthenware, the eight tiles framed as a group depicting Sagittarius within a cartouche, surrounded by floral motifs 31.5 x 65cm panel excluding frame

£3000-4000

£1500-2500

£1200-1500

288 63

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295 A MONUMENTAL MULTAN VASE Punjab, India (now Pakistan), circa 1880 earthenware, blue and turquoise painted on white ground, in the form of a classical amphora, with floral and acanthus designs, twin scrolling handles 90cm high £250-350

292 292 A QAJAR POLYCHROME GLAZED TILE Persia, mid-19th century Of square form, depicting a bird pecking at a rose, next to an ornamental urn, twin projecting attachments and a positioning mark on the reverse 19cm square approx £250-350

294 294 FOUR ‘DOME OF THE ROCK’ TILES Ottoman Syria, mid-16th century blue and white glazed fritware, each with central diagonally positioned split palmette surrounded by scrolling floral motifs 19.5cm square approx. each (4) The design of these tiles has Timurid origins, and was first seen on the Ottoman era restorations of the Dome of the Rock in Jerusalem, which was undertaken by Persian craftsmen. They probably moved on to Syria when their work was complete, as is suggested by the number of buildings in Aleppo with tiles of this design. £700-900

296 296 A CANAKKALE EWER Ottoman Anatolia, 19th century brown glazed earthenware, of bulbous form, with typical zoomorphic spout and dual twisted handle, the body with applique stylised floral decoration, the surface of the glaze painted with tulip motifs 37cm high £200-300

293 293 A PANEL OF SIXTEEN TILES Tunisia, 18th century Glazed terracotta, decorated with repeated medallion and floral lozenge design, framed 34 cm approx square (together) For four tiles from the same group in a private collection in Paris, see Alain and Dalila Loviconi: ‘Faiences de Tunisie’, Aix en Provence 1994, p.124 (lower right)

297 297 A QAJAR BLUE AND WHITE JAR Persia, 19th century underglaze blue painted fritware, on white ground with black outlines, depicting two pairs of men taking refreshments in a garden setting, surrounded by lush plants, animals and birds, stylised floral register on shoulder and lower body 33.5cm high

£300-500

295 64

£200-300

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299

301 298 A QAJAR POLYCHROME VASE Persia, late 19th century underglaze painted fritware, on white ground, outlined in black, the sides decorated with birds perched on floral stems 29cm high £100-150

298

299 A QAJAR MOULDED TILE DEPICTING REVELLERS Probably Teheran, Persia, Second half 19th century polychrome-glazed fritware, of rectangular form, the four figures in relief in a landscape setting on white ground, amidst flowers, with houses and hills in the distance, one of the men playing a mandolin while his companion holds a parasol, one of the women dancing to the music while the other drinks wine, raised floral border with birds perched on floral branches above 32 x 36.2cm This and lots 300-303 in this auction were formerly set into an overmantel in the drawing room of a house in Scotland £1000-1500

300

300 A QAJAR MOULDED TILE DEPICTING REVELLERS Probably Teheran, Persia, Second half 19th century polychrome-glazed fritware, of rectangular form, the four figures in relief in a landscape setting on white ground, amidst flowers, with houses and hills in the distance, one of the men playing a mandolin while his companion holds a parasol, one of the women dancing to the music while the other drinks wine, raised floral border with birds perched on floral branches above 32 x 35.5cm This and lots 299, 301-303 in this auction were formerly set into an overmantel in the drawing room of a house in Scotland £800-1200 301 A QAJAR MOULDED TILE DEPICTING REVELLERS Probably Teheran, Persia, Second half 19th century polychrome-glazed fritware, of rectangular form, the four figures in relief in a landscape setting amidst flowers and pavilions, with hills in the distance, one of the men playing a mandolin while his companion holds a parasol, one of the women dancing to the music while the other drinks wine, raised floral border with birds perched on floral branches above 31.5 x 37cm This and lots 299, 300, 302 & 303 in this auction were formerly set into an overmantel in the drawing room of a house in Scotland £1000-1500 65

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302 302 A QAJAR TILE DEPICTING A MOTHER AND CHILD Probably Teheran, Persia, second half 19th century underglaze polychrome-painted fritware, the central mother and child flanked by an bearded man showing a duck to the child and a female attendant, hills and buildings in the distance 29 x 39.5cm This and lots 299-301, 303 in this auction were formerly set into an overmantel in the drawing room of a house in Scotland £800-1200

304 304 A GLASS SCENT BOTTLE Bohemia, for the Ottoman Market, 19th century clear blown glass with etched and gilded floral decoration, the body with applique cobra coiled around the sides, bud shaped stopper 15cm high (with stopper) £80-120

306 306 A YELLOW-GREEN GLASS BOTTLE Nishapur, Persia, 9th/10th century Mould blown, with stylised floral relief decoration on the sides, with flared ridged neck 20cm high Provenance From a private collection formed in the 1950s, inherited by the vendor in 1986 £600-800

303 303 A QAJAR MOULDED TILE DEPICTING REVELLERS Probably Teheran, Persia, Second half 19th century polychrome-glazed fritware, of rectangular form, the four figures in relief in a landscape setting amidst flowers and pavilions, with hills in the distance, one of the men playing a mandolin while his companion holds a parasol, one of the women dancing to the music while the other drinks wine, raised floral border with birds perched on floral branches above 32 x 36.5cm This and lots 299-302 in this auction were formerly set into an overmantel in the drawing room of a house in Scotland

305 305 A SIND GLAZED POTTERY TILE Western India (now Pakistan), 18th century of square form, painted in cobalt and turquoise blue on white ground with a cruciform floral star design 15cm square £150-250

307 307 A KASHAN MINIATURE PILGRIM FLASK Persia, 13th/14th century Turquoise glazed fritware, of disc shaped form, the cylindrical neck with flared opening, flanked by a pair of loop handles, each side with a trio of firing spur marks 14.8cm high Provenance From a private collection formed in the 1950s, inherited by the vendor in 1986

£700-900 £100-150

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310 AN EARLY IZNIK BLUE AND WHITE TILE Ottoman Anatolia, 1540-45 of rectangular form, the design comprising a cartouche with interwoven floral and palmette motifs in blue and turquoise on white ground 19 x 27.5cm

308 308 AN IZNIK DISH Ottoman Turkey, late 17th century Glazed fritware,with floral border, the centre with stylised pavilion containing a flowering plant, old label on the reverse 24.3cm diam; 5cm high

This is from a group of dispersed tiles which, following recent excavations, have been linked to the Çinili Hamam (Tiled Bath-house) in Istanbul, built by Barbarossa towards the end of his life and designed by the famous court architect, Sinan. Similar tiles were made during the same period for the imperial palace. For a closely related tile in the Victoria and Albert Museum, see http://collections.vam.ac.uk/item/O224078/tile/ £400-600

312 312 A LATE QAJAR TILE DEPICTING JESUS CHRIST Persia, circa 1900 fritware, underglaze transfer printed and painted, Christ depicted holding the Qur’an, inscribed in Greek and Arabic with the verse of light (Surat an-Noor) 33 x 22.8cm

£250-350

For another tile depicting the same subject, see Christie’s South Kensington, 3 April 2009, lot 238 £400-600

309 309 A SAFAVID CUERDA SECA TILE Persia, 17th or early 18th century buff earthenware, of square form, with part of an inscription in cobalt, turquoise, yellow and manganese on white ground 23.5cm square

311 311 A DAMASCUS TILE Ottoman Syria, circa 1570-80 glazed fritware, underglaze painted in cobalt, turquoise and apple green on white ground with black outlines, with central lotiform medallion, surrounded by small flower-heads, and further part medallions, mounted 27cm square

Provenance Collection of the late Saeed Motamed, Frankfurt

Provenance Collection of the late Saeed Motamed, Frankfurt

£500-700

Identical tiles forming a pattern of repeated medallions, can be seen in the prayer hall of the Darwishiyya Mosque, Damascus (completed in 1575) £1000-1500

313 313 A PAIR OF GREEN GLASS DECANTERS Bohemia, for the Islamic Market, circa 1900 each with gold painted and cut vine design, the slender necks with triple convex rings, tall pointed stoppers 37, 36cm high (including stoppers) (2) Provenance Private collection, London

310

£350-450 67

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317 A MODEL OF A SOUTH INDIAN GOPURAM Probably Tamil Nadu, India, 19th century carved wood, in three storeys, the barrel roof with fragmentary kirttimukha finials pointing in each direction 40cm high The gopuram is the gateway to the South Indian temple enclosure. Unsually larger than the main shrine, they were built on the axis of each perimeter wall. Further encircling walls would be added over the years, sometimes creating a massive complex as large as a town, the gopurams increasing in size in proportion to the size of the complex. The finest example of a Tamil temple complex is Srirangam, near Trichinopoly.

314 314 A POLYCHROME-PAINTED QAJAR TILE Persia, second half 19th century of square form, depicting part of a rococo frame, amidst flowering plants, the reverse with five circular adhesion recesses and traces of a positioning symbol 23.5 x 24cm Provenance Private collection, London £300-500

£280-320

316 316 A FIGURE OF A CHAURI BEARER Tamil Nadu, South India, late 19th/early 20th century polychrome-painted wood, the plump female figure standing on a lotus base, wering elaborate belts and jewellery, a chauri in her right hand, a fruit in her left 61.5cm high Provenance Private collection, Yorkshire £150-200

318 318 A DAMASCUS QUR’AN STAND Ottoman Syria, circa 1900 wood with mother-of-pearl inlaid floral decoration, composed of two hinged pierced panels with serrated top edges 64cm high (opened)

315 315 A BLUE AND WHITE JAR Delhi, India, late 19th century Fritware, with cobalt blue underglaze floral painted decoration 10.5cm

£150-250 319 A CARVED WOOD FRIEZE Gujarat, probably Ahmedabad, Western India, 18th century of rectangular form, comprising a register of scrolling vines, with birds perched on the stems 23 x 144cm

Delhi fritware was developed in the 1870s, adopting techniques from the Middle East. See http://collections.vam.ac.uk/item/O475030/ water-bottle-unknown/ for an example in the Victoria and Albert Museum £120-150

317

319 68

£200-300

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320 320 A CARVED WOOD LINTEL Parthabgarh, Rajasthan, India, 19th century in the form of a two tiered frieze, with four corbel projections along the lower edge, two further projections in the form of horse above, the upper tier with figure of Ganesha in relief, flanked by elephants and parakeets, the outer panels with geometrical carving 157 x 57 x 22cm

324 324 A PANEL FROM A MAMLUK DOOR Egypt, 15th century Wood carved and inlaid with ebony, bone and ivory, of geometrical eight sided form, the central carved arabesque design, surrounded by a stylised leaf border, old inventory (?) number ‘24470’ inscribed on upper edge, mounted on stand 11 x 16 x 2.5cm

£800-1200

£800-1200

322 322 A CARVED WOOD CHARIOT PANEL South India, 19th century depicting Siva consulting a sage on a mountain top, twin attachment projections above and below 42cm high £300-400

321 A PAIR OF PILASTERS Ahmedabad, Western India, 19th century each in three sections, the fluted shaft surmounted by composite capital, standing on sandstone bases 238cm (high); 35cm (wide); 28cm (deep) each approx. (2 columns; 6 pieces in all)

323 323 A CARVED EBONY BOX Sri Lanka, circa 1920-30 Of rectangular form, with ridged sides, the hinged lid with recumbent carved figure of an elephant 19 x 27 x 18cm

325 325 A PANEL FROM A MAMLUK DOOR Egypt, 15th century Wood carved and inlaid with ivory, of rectangular form, carved with three geometrical medallions with arabesque design, with bone parquetry elements, mounted on stand 23 x 7 x 1.3cm

£800-1200

£150-250

£300-500

321

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326 326 A CARVED AND INLAID WOOD PEDESTAL Egypt, circa 1900 of slender form and square section, the top decorated with star, arabesque and calligraphic motifs, the sides with horseshoe arches and mother of pearl inlaid star motifs, standing on bun feet 90cm high; 35 x 35cm (top) Provenance Private collection, London

328 328 A SMALL SIDE TABLE Egypt, circa 1900 of hexagonal form, decorated with carved floral arabesques, mother-of-pearl inlaid star motifs and openwork mashrebiyya decoration, standing on six bun feet 47cm high

330 330 A MARBLE FIGURE OF GANESHA Rajasthan, Western India, 19th century the four-armed elephant headed deity seated on a lotus, his trunk supported by a cobra, with pot belly, his vahana the rat at his feet 22.7cm high

Provenance Private collection, London

Provenance Private collection, Yorkshire

£200-250

£200-300

£450-550

327 327 A CARVED AND INLAID WOOD PEDESTAL Egypt, circa 1900 of square tapered form, on splayed feet, the top and sides with carved calligraphic and foliate designs, inlaid with mother of pearl star motifs, the lower shelf fringed with mashrabiyya openwork decoration 72cm high; 42.5cm square (top)

329 329 A MARBLE FIGURE OF A CHAURI BEARER Rajasthan, 19th century carved and polychrome-painted with gold, the female figure standing with body flexed 24cm high

Provenance Private collection, London

Provenance Private collection, Yorkshire

£450-550

£200-300

70

331 331 A BUFF SANDSTONE JALI Northern India, probably Rajasthan, 18th century of rectangular form, with geometrical pierced decoration interspersed with flower motifs, surrounded by a stylised acanthus border 35.5 x 49.5cm £200-300

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336 336 A GROUP OF THIRTEEN INDIAN CHARACTERS Kondapalli, Deccan, Southern India, second half 19th century polychrome-painted wood, some with inscriptions in Telugu and English underneath, the figures including a laundryman and his wife, a palanquin bearer, a drummer, a herdsman and a brahmin 13cm high, and smaller (13) 334

332 332 A MARBLE FOUNTAIN Rajasthan, India, 20th century on scrolling acanthus base, the lotiform shaft supporting two tiers of flowershaped trays, the finial at the top with water opening 115cm high

334 A LACQUERED WOOD FIGURE OF BUDDHA Burma or Thailand, 20th century in Burmese style, with glass inlaid decoration, seated in sattvasana, his hands in bhumisparsa and dhyana mudra, his tightly curled hair with domed usnisa 60cm high Provenance Private collection, Yorkshire £400-600

This group of figures was made in Andhra Pradesh from a light, pal-coloured wood called tella puniki. Figures such as these were used for educational purposes o be displayed in museums, demonstrating the different castes and occupations in native India, but later they were made as mementoes for the British expatriate community. For a pair of later Deccani figures in the National Handicrafts and Handlooms Museum, New Delhi, see J. Jain and Aarti Aggarwala, National Handicrafts and Handlooms Museum, New Delhi, p.202. £500-700

£800-1200

333 333 TWO SMALL STELAE Deccan, 18th/19th century steatite, each depicting a male deity, probably Siva, holding a sword and shield 23, 21cm (2) Provenance Private collection, London £200-300

335 335 RAMA AND SITA RETURNING FROM LANKA Northern India, dated 1940 clay devotional image, polychrome painted, the couple in a small sailing boat with hamsa prow, accompanied by Rama’s brother Lakshmana and a boatman, inscribed on the reverse 1940 12.6.40 30.5cm high £180-220

337 337 FOUR INDIAN AND PERSIAN BOXES 19th century comrising a Mysore sandalwood penbox, with profusely carved lid and sides, the lid with central figure of Krishna dancing on Kaliya, a Qajar painted wood box with qatamkari lid, a qatamkari scribes box (qalamdan), and a large papier mache qalamdan 13.5 x 28.5 x 13.2cm (Mysore box); 8.5 x 40 x 9.2cm (large qalamdan) and smaller (4) £250-350 71

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340 A KASHMIR PAPIER MACHE BOX Northern India, circa 1880 Of ten-sided flare form, with domed lid, the polychrome and gold painted decoration consisting of profusely scrolling flowering plants, the interior with scrolling carnations on ivory ground 23cm high; 28cm max diam £800-1200

338 338 AN INLAID CANE Probably Monghyr, Northern India, late 19th century ebony shaft with ivory inlaid floral decoration, buffalo horn hilt, silver mounts 94.5cm long

343 343 A GEM-SET AND GOLD INLAID JADE DISH India, 19th century of circular form, the diamond and ruby foliate design comprising a central medallion surrounded by a scrolling floral border 14.5cm diam.

£120-150

£2000-3000

339 339 A KASHMIR PAPIER-MACHE BOX Northern India, circa 1880 Of slightly flared circular form, with domed lid, the exterior painted with an assortment of human figures and animals inscribed on the lid ‘Aziz Mughal’, the interior with a design of floral trees on red ground 20cm high; 26cm diam

341 341 A QATAMKARI MIRROR Persia, 19th century wood with micromosaic work geometric decoration, of rectangular form, with sliding opening 17 x 11.6 x 1.9cm £100-150

344 344 A MUGHAL IVORY PEN BOX Northern India, 18th century Of long rectangular form, composed of panels of ivory carved with floral motifs in low relief, copper gilt mounts, the interior with compartments and removable tray 5.5 x 24 x 7.4cm £2500-3500

£800-1200

342 342 A GROUP OF POLYCHROME-PAINTED TURNED WOOD OBJECTS Bihar, Eastern India, first half 20th century comprising two spinning tops, an egg cup, a mallet and a fan, the latter with applique sequin and beetlewing decoration 45.5cm long and smaller (5) 340 72

£60-80

345 345 A MUGHAL IVORY BOX Northern India, 18th century Of rectangular form, carved with stylised floral and acanthus designs in low relief, on backet feet, copper gilt handles and mounts 5 x 10 x 5.5cm £400-600

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346 346 A MOTHER OF PEARL INLAID CANE Ottoman Empire, late 19th century Of straight tapered form, with bone tip, the shaft with geometrical fish, cypress tree and abstract decoration, the pommel with repousse silver Ottoman crest 91cm long £200-300

348 348 THREE OTTOMAN SHERBET SPOONS Western Anatolia, 19th century with tortoiseshell bowls, bone and brass handles with coral finials 32cm; 32cm; 24cm long (3) Provenance British Private Collection £600-800

350 350 A ‘TIGER’ RUG Tibet, 20th century knotted wool pile, of rectangular form, the design composed of repeated indigo stripes on orange ground 160 x 88cm £1200-1500

347 347 A POLYCHROME-PAINTED PANEL Bikaner, Rajasthan, second half 19th century wood, gilded, gessoed and painted, traces of mirror glass, probably a sliding lid from a box, painted with Krishna on each side, one side also with Radha, raised foliate relief decoration on one side 33.8 x 23cm Provenance Private collection, London

349 349 TWO OTTOMAN SHERBET SPOONS Western Anatolia, 19th century the larger with horn bowl, the smaller of tortoiseshell, each with bone and horn handles, carved pinecone finial 25.8; 22.5cm long (2) Provenance Private British Collection £350-450

£250-350

351 351 A LAMA’S COLLAR Tibet and China, 19th century or earlier made with Chinese silk brocade, in the form of a four-fold cloud collar, with dark blue silk trim, with central circular neck opening and leather tie, mounted 88 x 88cm approx. £500-800

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352 352 A PRINTED COTTON TENT PANEL (qanat) Jaipur, early 19th century The design in the form of a cusped mehrab containing a ‘jali’ pattern, a rosette in each spandrel, surrounded by concentric scrolling foliate borders, mounted on stretcher 118 x 66cm

354 354 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, lined with matching cotton 180 x 80cm (excluding lining) £600-800

£400-600

356 356 A KUZNETSOV PLATE Volkhov, Russia, circa 1900 Glazed pottery, with spray stencilled polychrome ikat design, the reverse with impressed and transfer factory marks 30.5cm diam.

Provenance Private collection, London For a group of five similar plates, see Sotheby’s London, 25 April 2012, lot 639 The Kuznetsov factory was in Volkhov, Russia, was established in 1889, one of many owned by the Kuznetsov family, producing faience chiefly for the Ottoman and Central Asian market, where it was much in demand. This design is inspired

by Uzbek ikat patterns. £60-80

353 353 A SILK LAWON Palembang, Sumatra, Indonesia, 1850-1900 of rectangular form, handwoven silk, resist dyed with tritik process, with concentric yellow and deep purple lozenge motif on pale purple ground, lined with matching cotton 160 x 67.5cm (excluding lining) £400-600 74

355 355 A SILVER THREAD EMBROIDERED VELVET FAN OR CANOPY Late Mughal, India, circa 1800 of circular form, one side with central moustachioed face, surrounded by double scrolling foliate borders, the other, similarly decorated with central flower motif, iron frame, with green satin pelmet around the sides 51cm diam For a similar canopy in the National Museum, New Delhi, see S.P.Gupta (ed.), Masterpieces from the National Museum Collection, New Delhi 1985, no.264, p.177 £300-400

357

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357 A CREWEL WORK COVER OR HANGING Kashmir, early 20th century cotton, embroidered with colour wool, with stylised ‘floral tree-of-life’, design, surrounded by similar scrolling foliate border, lined with vestigial maker’s signature (?) on the reverse 247 x 121cm Kashmir crewel work is reputed to have been introduced by traders from Damascus in the 14th century, but it enjoyed particular popularity during the last century or so of the British Raj for curtains and other furnishings. £50-80

358 358 A KASHMIR SHAWL PANEL Northern India, Afghan Period, late 18th century woven wool, probably from a ‘moon’ shawl, the design comprising rows of polychrome botehs on maroon ground, mounted 63 x 60.5cm Provenance Private collection, London For a complete ‘moon’ shawl with field of similar design, see Frank Ames, The Kashmir Shawl and its Indo-French Influence, Woodbridge 1997, p.313. Ames describes how floral motifs during the Afghan period (1753-1819) moved away from naturalism towards increasing stylisation. £1200-1500 75

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359

359 A SOGDIAN SILK FRAGMENT Central Asia, 8th/9th century samite weave, the design comprising pairs of stylised peacocks standing on horizontal branches, facing each other within leafy garlands, old green silk edging along bottom 13.5 x 56cm approx.

Provenance Private collection, London Complex woven silks demonstrate the great technical advances in Central Asia and Eastern Iran during this period; for the wealthy elite these silks were so important as displays of status and wealth that the industry was one of the key pillars of the economy in the area.

Birds (sometimes easily identifiable as ducks, eagles or peacocks) in similar roundels to these can be seen on other examples in museum collections, such as the Cleveland Museum of Art, (1996.2.1). There are also related fragments depicting hunters in the Cleveland Museum of Art (1982.284 & 1959.124) ÂŁ7500-9500

359 detail

76

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360

360 A BUKHARA SUSANI Uzbekistan, second half 19th century cotton and silk, of rectangular form, made in three stitched sections, the design comprising stylised floral roundels surrounded by scrolling leafy stems framed by similar scrolling borders, tasselled edges, lined with beige satin 162 x 113cm ÂŁ2000-3000

77

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361

362 361 A SILK-EMBROIDERED LINEN BED VALANCE Rhodes, Greece, 18th century of horizontal form, the plain ground decorated in the middle with nine glastra (flower-vase) motifs, each containing a stylised flower vase, bordered on bottom and one side by double platyphylla (broad-leaf) motifs, a row of smaller single motifs along top edge, mounted on stretcher 60.5 x 257cm Provenance Penny Oakley, London, circa 2004 Private collection, London Rhodes bed embroideries were known as mostra ‘showpieces’, and were prominently displayed. Textiles from this island in the Dodecanese are particularly distinctive with their thick textured designs. For a fragment of a closely related valance in the Victoria and Albert Museum, see Tatiana Ioannou-Yannara, Greek Embroidery 17th-19th Century: Works of Art from the Collections in the Victoria and Albert Museum, Angeliki Hatzimihali Foundation, Athens 2006, no.117, p.280f. £1500-2500

362 A SILK EMBROIDERED SHELF OR CUSHION COVER Thasos, Greece, 18th century the indigo cotton ground embroidered in maroon, yellow and offwhite, the design comprising geometric serrated lozenge shaped petals, the old frame with label reading: G. Kanakis, Encadrement Ameublement, Rue Stamboul, 8, Alexandrie, Egypte 43 x 106cm Provenance Private collection, London Inherited by the vendor from his late father Thasos embroideries from the North-East Aegean are one of the less familiar types amongst the extraordinarily rich variety of Greek island embroideries. The geometrical motifs recall the much better known Naxos style, but, using a wider range of colours and, including white, and some rare examples, like this, are embroidered on blue ground. The geometrical motifs show more variety than those in Naxos. There are a handful of Thasos textiles in the Victoria and Albert Museum, two in particular relate closely this, with blue ground and similar embroidered colours (T232 1912, and most of all T410 1950). See also Tatiana IoannouYannara, Greek Embroidery 17th-19th Century: Works of Art from the Collections of the Victoria and Albert Museum, Angeliki Hatzimihali Foundation, Athens 2006, p.263. £2000-3000

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363 363 A BEDSPREAD OR BED-CURTAIN Naxos, Cycladic Islands, Greece, late 18th century embroidered cotton, the plain ground embroidered in two directions in red, the reserved diagonal lines forming a repeated four-part geometrical lozenge design containing a Byzantine cross with pointed ends, mounted on stretcher 129.5 x 211cm Almost all Naxos embroideries follow the same semi abstract diagonally oriented design. Naxos was the capital of the Cycladic islands until the Ottoman occupation and was the centre of the Roman Catholic church in the region. Influences on its textile traditions came mostly from Venetian pattern books which in turn may have been inspired by Mamluk prototypes. The red dyes on Naxiot embroideries were produced from a type of lichen found on the rocks by the sea. For related examples in the Victoria and Albert Museum, see Tatiana Ioannou-Yannara, Greek Embroidery 17th-19th Century: Works of Art from the Collections of the Victoria and Albert Museum, Angeliki Hatzimihali Foundation, Athens 2006, p.269. See also, Roderick Taylor, Embroidery of the Greek Islands, Yeovil 1998, p.49 (bottom left) ÂŁ3000-4000 79

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364 TWO LARGE COPTIC TEXTILE BORDER PANELS Egypt, 6th-10th century Linen and wool, woven in umber and ivory, with details in red and blue, the decoration comprising a row of mythical lions in octagonal panels, interspersed with two larger rectangular panels containing figures, interwoven strap work border interspersed with floral medallions on either side, laid on jute backing 73 x 18cm; 64.5 x 17cm (2) Provenance Property from the Estate of a diplomat.

Acquired on his first posting in Egypt in the 1950’s £400-600

364

365 365 A SMALL COPTIC TEXTILE PANEL Egypt, 6th-8th century Linen and wool, the polychrome design of square form, depicting a bust of a woman with bouffant red hair and pink breasts, surrounded by an indigo border with abstract pattern of squares, mounted and framed in perspex 13.2cm square approx.

Provenance Property from the Estate of a diplomat.

Acquired on his first posting in Egypt in the 1950’s £200-300

END OF SALE

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366 366 TWO COPTIC TEXTILE FRAGMENTS Egypt, 6th-10th century Woven linen, each with polychrome design, one composed of repeated birds alternating with palmettes and a roundel, also containing a bird; the other comprising paired figures and animals on madder ground, each mounted and framed in perspex 15 x 36cm; 8 x 29cm (2) Provenance Property from the Estate of a diplomat.

Acquired on his first posting in Egypt in the 1950’s £400-600 367 EIGHT REFERENCE BOOKS Mostly on Indian Bronze Images (8) £30-50

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Conditions of Business for Buyers 1.

2.

Introduction (a) The contractual relationship of 25 Blythe Road Ltd and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from 25 Blythe Road Ltd; (iii) 25 Blythe Road Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, 25 Blythe Road Ltd acts as agent for the Seller.

Occasionally, 25 Blythe Road Ltd may own or have a financial interest in a lot.

Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer (or auction system), including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “BR” means 25 Blythe Road Ltd, Auctioneers, 25 Blythe Road, London, W14 0PD, company number 7982062.

“Buyer’s Expenses” are any costs or expenses due to 25 Blythe Road Ltd from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers and/or Important Information for Buyers; “Hammer Price” is the highest bid for the Property accepted by the auctioneer (or auction system) at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3.

Examination of Lots (a) BR’s knowledge of lots is partly dependent on information provided by the Seller and BR is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of BR’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at BR’s absolute discretion.

4.

Exclusions and limitations of liability to Buyers (a) BR shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of BR’s Authenticity Guarantee. (b) Subject to Condition 4(a), neither BR nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by BR, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by BR in connection with

the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against BR and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither BR nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of BR or the Seller for death or personal injury caused by the negligent acts or omissions of BR or the Seller.

5.

Bidding at Auction (a) BR has absolute discretion to refuse admission to the auction.

Before sale, Bidders must complete a Registration Form and supply such information and references as BR requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case BR’s prior and express consent must be obtained). (b) BR advises Bidders to attend the auction, but BR will endeavour to execute absentee written bids provided that they are, in BR’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to BR’s other commitments; BR is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. (d) The above [5. (a) to (c)] will be applicable, where relevant, to online auctions.

6.

Import, Export and Copyright Restrictions BR and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES).

7.

Conduct of the Auction (a) The auctioneer (or auction system) has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer (or auction system) will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8.

Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”). (b) Title in a lot will not pass to the Buyer until BR has received the Purchase Price in cleared funds. BR will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, BR will compensate the Buyer for any loss or damage to the lot up to a maximum of the

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Purchase Price actually paid by the Buyer. BR’s assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. BR will not be liable for any acts or omissions of third party packers or shippers.

9.

Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, BR may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) Cancel the sale of the lot; (c) Set off any amounts owed to the Buyer by BR against any amounts owed to BR by the Buyer for the lot; (d) Rreject future bids from the Buyer; (e) Charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) Re-sell the lot by auction or privately, with estimates and reserves at BR’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in BR’s possession, applying the sale proceeds to any amounts owed by the Buyer to BR. BR shall give the Buyer 14 days' written notice before exercising such lien; (h) Commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) Disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 20 working days of the auction, the lot will be stored at the Buyer's expense and risk at BR’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, BR will re-sell the lot by auction or privately, with estimates and reserves at BR’s discretion. The sale proceeds, less all BR’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

11. Data Protection (a) BR will use information supplied by Bidders or otherwise obtained lawfully by BR for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i).

12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by BR are the copyright of BR. (b) These Conditions of Business are not assignable by any Buyer without BR’s prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of BR.

25 Blythe Road Ltd’s Authenticity Guarantee If 25 Blythe Road Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below 25 Blythe Road Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to 25 Blythe Road Ltd for that Property, up to a maximum of the Purchase Price.

The guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is nontransferable.

“Counterfeit” means an item of Property that in 25 Blythe Road Ltd’s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating).

Please note that this guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in 25 Blythe Road Ltd’s reasonable opinion); or

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(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this guarantee the Buyer must:(i) notify 25 Blythe Road Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to 25 Blythe Road Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

25 Blythe Road Ltd has discretion to waive any of the above requirements. 25 Blythe Road Ltd may require the Buyer to obtain at the Buyer's cost the reports of two independent and recognised experts in the relevant field and acceptable to 25 Blythe Road Ltd. 25 Blythe Road Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event 25 Blythe Road Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by 25 Blythe Road Ltd.

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Arthur Millner

25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5541 Fax: +44 (0) 20 7602 5973 Email: enquiries@25BlytheRoad.com www.25BlytheRoad.com