Roseberys London

ARTS OF INDIA Wednesday 12 June 2019

ARTS OF INDIA Wednesday 12 June 2019 Starting at 10.30am VIEWING

Friday 7 June 1pm-5pm Sunday 9 June 10am-2pm Monday 10 June 9.30am-5.30pm Tuesday 11 June 9.30am-5.30pm Head of Department: Alice Bailey

Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Front Cover: Lot 56 Back Cover: Lot 314 Inside Front Cover: Lot 242 Inside Back Cover: Lot 258

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk

Online bidding available at:

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BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys.

Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.

Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.

New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk.

Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

New International Bidders In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding.

Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.

Alternatively, online bidding is available through www.thesaleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval.

• Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line.

The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate.

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon of: 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

Methods of bidding

VAT

• In person: at the auction room.

VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer.

• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform.

RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk.

There is no charge to use this service.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction.

• Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000.

To make a payment of over £1000 please make a bank transfer or visit the auction house in person.

• Bank transfer: Payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.)

Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, Iban GB80NWBK60300636952613.

• Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.

Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding.

Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 271

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1 Two Gandharan red sandstone heads, reworked in areas, 3-4th century AD, depicted wearing headdresses, each mounted on a plinth, 15cm. and 10.5cm. high (without plinth) (2) £400 - 600

2 Three small red stone heads, India, 10-12th century, one with finely moulded features, two with metal pins, 5.5cm. 7cm. and 4.2cm. high (3) £300 - 500

3 Three small stone heads, India, Gupta period, moulded with wide elongated eyes, two with elaborate headdresses, one with curls and a top knot, 3.5cm.

4cm. and 4cm. high (3) £500 - 700

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4 A large sandstone face of Buddha, India, Gupta period, with peaceful expression, the thin eyebrows arched, the almond-shaped eyes with eyelids outlined, the mouth with protruding lower lip, and pointed chin, the hair scraped back with central part, 29.5cm. high x18cm. diam at widest point ÂŁ4,000 - 5,000

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5 A Central Indian mottled red sandstone figure of Vishnu, 10th-11th century, carved in swaying position, naked except for a sash and jewellery, the face with almond-shaped eyes and hair under a crown, some damages, on mount, 78.2cm. high ÂŁ3,000 - 4,000

5 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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6 Two mottled red sandstone sculptures of a dancing female, Central India, 11th- 12th century, each carved in swaying position, with hands raised, seen from behind and naked aside for a sash and some ornaments, some damages, each mounted, 36cm. and 38cm. high (2) ÂŁ2,000 - 3,000

7 A red sandstone fragment of a hand and female head, Madhya Pradesh, India, 10th century, the large hand resting on a spherical object, the female head with wavy hair pulled back in a bun and decorated with jewellery, the face with a peaceful expression, on mount, 18cm. high ÂŁ600 - 800

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8 8 A stone statue of a winged angel, Murshidabad, India, 19th century, wearing draped robes, and elaborate necklace, earrings and diadem, the wings now missing, mounted, 76cm. high £2,000 - 3,000

9 A bronze figure of Buddha Avalokitesvara crowned and bejewelled, Karkota Period, Kashmir, circa 800AD, depicted wearing a threeleaf triangular crown, on wood plinth, figure 11.5cm. high £800 - 1,200 10 A bronze figure of Siva as Bhairava, Vijaynagara, 14th-15th century, on a tiered square base, depicted nude and with a dog behind, standing 13cm. high £500 - 800

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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11 A bronze figure of Vishnu, India, 18th century, on a square, tiered base, rounded plinth, the figure finely moulded, 14.5cm. high £300 - 500 12 A South Indian bronze triad of Vishnu with Sri Devi and Bhu Devi, Karnataka, 19th century, each on a square base, Vishnu depicted with his discus (chakra) and conch shell (shanka), Vishnu 18cm. high (3) £800 - 1,200

13 13 A small bronze figure of Ganesha, 18th century, shown seated on a square, tiered base, with curled trunk, 8cm. high Provenance: Private Collection UK £400 - 600 14 A South Indian figure of Shiva and Parvati Somaskanda, 18th century, on a rectangular tiered base, the four-armed Vishnu seated with a pendant right leg in lalitasana on a broad waisted plinth, wearing a short dhoti, necklaces and armlets, his hair arranged in a tall matted chignon with a naga and crescent moon, Parvati seated to his side in mirror pose with her right leg slightly raised, wearing a long dhoti spilling over the edge of the base down to her ankle, gracefully adorned with beaded festoons and conical headdress, 5.5cm. high £400 - 600 15 A small bronze figure of Ganesha, 18th century, on a circular base, with flat back, 6cm. high Provenance: Private Collection, UK £200 - 300

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16 A small standing bronze figure of Ganesha, on a circular base, 19th century, 6.5cm. high

17 19 A small bronze statue of Krishna the butter thief, South India, 19th century, depicted crawling forward with one foot in advance, right hand missing, 6cm. high £100 - 150

Provenance: Private Collection, UK £200 - 300 17 A small South Indian bronze figure of Parvati, 19th century, on a rectangular base, holding a lotus bud and wearing a necklace and draped cloth, 7.2cm. high

20 A South Indian bronze figure of Vishnu and Lakshmi, 18th century, on a square base, Vishnu shown seated with Lakshmi on his lap, wearing elaborate bracelets and armlets, the details finely rendered, with a deep chocolate brown patina and wear, 9.5cm. high

Provenance: Private Collection, UK £100 - 150

Provenance: Private Collection UK £400 - 600

18 A Tibetan gilt-bronze figure of Vajrapani, 19th century, standing in alidasana, his right hand holding a vajra aloft and his left hand at his chest, wearing a tiger-skin dhoti tied around his waist and a snake and beaded garland, 7cm. high Provenance: Private Collection, UK £600 - 800

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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21 A bronze statue of an elephant and rider, with Bengali inscription, India, 19th century, cast in three parts, the elephant with rounded legs, straight trunk and wearing a headdress, a panel to the back with shrine attachment extending in a crenelated arch and with Bengali inscription, with slot to base for the rider, possibly added later, 28.5cm. high Provenance: Private Collection, UK £800 - 1,200 22 A fragmentary bronze head of Buddha Shakyamuni, Thailand, 17th century, with serene expression, eyes semi-shut, with elongated earlobes, mounted on plinth, 10cm. high £200 - 300 23 A bronze horse and rider, India, 19th century, mounted on plinth, 26cm. diam at base £200 - 300

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24 A fine Mughal embroidery on mesh fabric, India, late 18th century, the panel of square form with central roundel, boteh to each corner, and wide border, embroidered in peach, green and blue silk outlined in gold thread with three vines which run diagonally in sets of four in opposing directions, the central roundel containing a lattice of peach silk flowers, small gold sequins and blue and red beads, the borders with gold sequins,168 x 178cm.

The incredibly complexly woven panel is undoubtedly a court piece, made for a noble lady ÂŁ1,000 - 1,500 24

25 A Mughal printed cotton panel for a tent (Qanat), India, 18th century, of rectangular form, the cusped arch containing a plain cream ground, the spandrel with large red flower heads scrolling green vine and butterflies, a panel of repeating white flowers on a red ground above, and surrounding border of repeating small red flowers, in poor condition, 200 x 93.5cm.

Another Qanat panel of the same fabric was sold at Roseberys, 23 October 2018 Lot 428 ÂŁ1,000 - 1,500

25 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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26 A Mughal printed cotton panel for a tent (Qanat), India, 18th century, of rectangular form, the cusped arch containing a plain cream ground, the spandrel with large red flower heads scrolling green vine and butterflies, a panel of repeating white flowers on a red ground above, and surrounding border of repeating small red flowers, 224 x 95.5cm.

The Qanat hanging was very important for open air encampments, and they were composed of a repeating row of similar or identical panel which usually incorporated a niche, and were to be cut by the user according to the dimensions of the screen it was intended to cover. These screens were placed to create the enclosure within which the tents were erected. They were made of strong cloth and lined with painted cloths (Chittes). There were additional shorter screens, the height of a man, around individual and groups of tents, and other tent hangings were the lining decoration within the tents themselves. The format of the niche enclosing flowering plants was ubiquitous and used in architectural decoration and as a motif in other disciplines including embroidery, ceramics, tiles and metal-work, and are seen in manuscripts from the 16th century onwards. Designs were inspired

by Safavid prototypes which entered the Mughal decorative repertoire. See Irwin, John and Hall, Margaret, Indian Painted and Printed Fabrics, Ahmedabad, 1971, Chp.III, Tent- Hangings, Floorspreads and Coverlets, pp.22-35, Nos, 20-22, pl.10-11, for discussion of tent hangings and examples of cotton, block printed and painted tent panels.

Another Qanat panel of the same fabric presumably from the same tent was sold at Roseberys, 23 October 2018 Lot 428.

See also the previous lot. ÂŁ2,000 - 3,000 26

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27 A Mughal gilt metal embroidered silk panel, India, 18th century, of rectangular form, the central panel with repeating design of large floriated medallions enclosing flowers in gilt metal thread on a purple silk ground, above and below panels of gold and silver embroidered flowers arranged in diagonal bands on a gold silk ground, to corners square panels with repeating design of bats in black silk thread on a red silk ground, 219 x 182.5cm. ÂŁ1,000 - 1,500 28 A Mughal gilt metal thread embroidered fuchsia silk panel, India, early 19th century, of rectangular form, with a central rectangular panel, and smaller panels to border, silk tassels to border, 204 x 108cm. ÂŁ300 - 400 29 Two Mughal gilt metal thread embroidered panels of purple silk, India, late 18th century, with a repeating design of a flower heads with stalk and bud, 76 x 29cm. and 74 x 29cm. (2) ÂŁ600 - 800

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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30 An early Mughal gilt metal thread embroidered silk panel, India, late 17th century, of rectangular form, embroidered in silver thread with a repeating design of a leafy plant on green silk ground, 142 x 112.5cm. ÂŁ3,000 - 5,000

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31 An early Mughal gilt metal thread embroidered silk panel, India, late 17th century, of rectangular form, embroidered in silver thread with a repeating design of a leafy plant on green silk ground, the border with a design of flower heads containing in a lattice frame, 206 x 116cm. ÂŁ1,000 - 1,500

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32 A fine Mughal unused panel on cream cotton ground with gold thread and red and silver beetle wings, India, 19th century, of long rectangular form, a square section to the end unfinished, the design with 23 bands running lengthwise each containing a repeating pattern of three circles and two leaves and with a border of thick gold textured thread, 275 x 46.8cm.

Fabrics lavishly decorated with the iridescent wing-cases of Buprestidae beetles (better known as jewel beetles) were particularly fashionable in the 19th century, although the technique is likely much older. The cases were pierced with holes and clipped into shape then sewn directly onto the fabric ground. Designs were built up using hundreds of cases, frequently in combination with gold-wrapped thread and embellishments. The iridescent wing cases sparkled on headcovers, blouses, and accessories. Beetle-wing-case embroidery also became popular with western women who made gowns and accessories out of beetle-wing-case embroidered muslins and nets.

The shimmering emerald colour is not a pigmentation but a result of the microscopic structure of the cases themselves, which naturally reflects green-blue light. Although they were valued for the permanence of their colour, durability and relative hardness, the wing cases were still fragile and could snap, so were often used only as trim. ÂŁ3,000 - 5,000 33 A Mughal embroidered prayer mat, India, 18th century, of rectangular form, the white cotton ground quilted and embroidered in red and green floss silks, the central ogival medallion containing a deign of interlacing flowers set in a field of single flower sprays, within a larger border of repeating single flowers, 125 x 88.2cm ÂŁ1,200 - 1,500

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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34 A Mughal embroidered Kashidakari cotton prayer mat, India, 18th century, of rectangular form, the cream cotton ground with three central floriated medallions densely embroidered with small flowers in pink, blue, cream, black and green, panels either side similarly decorated, with cotton fringe, light staining, 92 x 136cm £1,500 - 2,000

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35 A Mihrab Kalamkari panel, Iran, 19th century, of rectangular form, the printed decoration with a central cypress tree rising from a rocky mount and flanked by peacocks, with modern cotton backing for hanging, 198 x 105.5cm. £500 - 700 36 A group of steel spear heads of various sizes, India, 17th-18th century, three with ribbed knops and faceted shafts, some inscribed, longest 40.5cm. (7) Provenance: Cannes Encheres Nicolas Debussy et Associes, 23 July 2011, Lots 81, 82, 83 £200 - 300

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37 A Mughal glass hilted dagger, India,18th century, the straight steel blade with gold damascene at the forte, the ambercoloured glass hilt plain, 29.3cm. long Sotheby’s 8 October, 2008, Lot 196 (part lot) £400 - 600

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38 A Mughal gem-set jade hilted dagger, India, late 18th century, the steel blade gently curved at the tip with central ridge, the pistol grip spinach green jade hilt carved with flowers and leaves set with rubies within a gold surround, with stand, dagger 37.5cm. high £4,000 - 6,000 39 A bronze hilt, Deccan, India, 17th century, the grip in the form of a makara head with a small bird extending from the mouth and attaching to the guard decorated with chevron design, 12.6cm. high For an almost identical example see Muhammed Khalil Ibrahim, Islamic Arms and Armour, (The One Thousand and One Collection), published UAE, 2018, no. 661, p. 784. £500 - 600 40 A group of Mughal archers rings, India, 17th-19th century, of brass, steel and one of ivory, three with perforated lobed edge (8) £2,000 - 3,000

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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41 Two South Indian swords Patallah, 18th century, the straight double edged blade widening toward the a rounded tip, the steel hilt formed of a finely engraved attenuated beaded langet extending over almost a third of the blade’s length on each side, figure of eight shaped dish guard upturned on each side, engraved with foliage, traces of red pigment, patinated, 100.2cm. and 99.8cm. long (2) Provenance: Private Collection UK A fine Patallah of an earlier date was sold 25 June 2008 Antique Arms, Armour & Militaria, 25 Blythe Rd., London. Another similar sword is in the collection of the Victoria and Albert Museum (rn.no.

1425-1855) illustrated in P.S. Rawson, 1968, ill. 40. £2,000 - 3,000

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42 A steel blade, India, 19th century, with red velvet with braided sheath, 95cm. long Provenance: Private Collection UK £200 - 300 43 A bronze hilted tulwar, India, 19th century, the gently curved steel blade with thickened spine, the hilt plain, wood sheath with brown leather sheath and metal fittings, 85cm. long £400 - 600 44 A watered-steel Tulwar with gold damascened hilt and makers mark, India, 19th century, the single-edged blade with square signature cartouche with maker’s name in nasta’liq, the hilt of typical form decorated with golddamascened floral vine, the wood scabbard of typical form, covered with red velvet and gilt thread braiding, with silver fitting to tip with silver repousse work, 91.5cm. long £800 - 1,200

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45 45 A silver hilted tulwar, India, 19th century, the slightly curved steel blade thickened at spine and with central groove, hatched design towards hilt, the hilt with floral silver inlay, the wood sheath with black leather cover, metal fittings, 89cm. long Provenance: Private Collection UK £400 - 600

46 A damascened hilt jambiyya, Deccan, late 19th century, the curved steel blade with three ridges narrowing to a central ridge toward end, the hilt of waisted form, decorated to one sides, top edge and base on both sides with a design in relief of leaves containing a panel of with tigers and gazelles, the other side with design in relief of a tiger attacking a gazelle, the wood sheath with original purple velvet cover and embroidered silk insert, 34cm. long Provenance: Private Collection UK £400 - 600

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47 A damascened hilt jambiyya, Deccan, late 19th century, the curved steel blade with three ridges narrowing to a central ridge toward end, the upper section with a damascened design of an elephant head to one side and rabbit to the other, the hilt of waisted form, decorated one side, top edge and base on both sides with a design in relief of leaves containing a panel of gold damascened flowers, the other side with a damascened design in relief of scrolling leaves, the wood sheath with original purple velvet cover and embroidered silk insert, missing braiding, 32cm. long Provenance: Private Collection UK £400 - 600

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48 A damascened hilt jambiyya, Deccan, late 19th century, the curved steel blade with three ridges narrowing to a central ridge toward end, the hilt of waisted form, decorated one side, top edge and base on both sides with a design in relief of leaves containing a panel of gold damascened flowers, the other side with a damascened design in relief of scrolling leaves, the wood sheath with original purple velvet cover and embroidered silk insert, 34.5cm. long Provenance: Private Collection UK £400 - 600

48 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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49 A fine Koftgari silver and gold inlaid jambiyya, Deccan, India, late 18thearly 19th century, the curved watered steel blade with central ridge, the hilt of waisted form, inlaid in gold to the upper and lower section with flower heads and scrolling trendrils on a silver ground, gold plain and spotted bands between, the quillons in the form of a rams head, a triangular element to top, the wood sheath with original purple silk cover, the upper section with damascened silver fitting, 32cm. long

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Provenance: Private Collection UK £1,500 - 2,000

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50 A Matchlock rifle, Sindh, North India, 19th century, of typical form, the butt inlaid with bone lozenges, the stock with silver fittings terminating in cusped palmettes at either end and rosette pins, the barrel with seven silver brackets with elegant lozenges on the top, ramrod and silver fitting around the base of the barrel, two further brackets beneath the stock, 153cm. long approx. £500 - 800 51 An engraved gold sheet metal spear head, North Malaysia or Southern Thailand spear head, early 19th century, the steel blade straight with central raised ridge, the wood shaft with sheet metal covering worked with a dense design of lotus flowers in three registers, the grip of plain wood, 57cm. long £1,500 - 2,000 52 Two Naga axes, North East India, 19th century, each with steel blade and wood handle, 55cm. and 51cm. long (2) £300 - 300

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53 A Mughal noble, Provincial Mughal school, second half 18th century, opaque pigments and gold on paper, the dark- skinned noble wears a yellow jama, he sits on a white terrace with his hands on his lap, with red and yellow borders, 18.5 x 12cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £800 - 1,200 54 A Mughal prince at a Jharokha window, Provincial Mughal school, India second half 18th century, opaque pigments and gold on paper, wearing an elaborate turban, bejewelled, his head with a gold nimbus, holding a leaf, the curtain opened on a green background, within a large marble arch, laid down on card between gold floral borders, 19.8 x 13cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £600 - 800 55 55 Raja Udai Singh (Mota Raja) of Marwar, Rajasthan, North India, early 19th century, opaque and transparent pigments heightened with gold on paper, standing facing right, wearing a pink jama, a jewelled turban, he stands on on grassy ground, small birds fly in the sunset sky, with buff borders, the reverse with an inscription in devanagari script, 24.1 x 16.5cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £800 - 1,200

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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56 A Mughal prince, Provincial Mughal school, India, second half 18th century, opaque pigments and gold on paper, wearing a pink jama he sits against a large gold bolster cushion, a mango tree above him, fruits and plates laid down before him, with gold-speckled blue borders, 22.3 x 17.2cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. ÂŁ700 - 1,000 57 An equestrian portrait of a Mughal prince, North India, mid-18th century, opaque pigments heightened with gold on paper, showing the prince with an elegant pink and green turban, a gold thread embroidered tunic with floral motifs held with an intricate sash, holding a riding crop in his right hand and the reins in his left, his horse with its main plaited and body painted, the flywhisk bearer to his side and preceded by an attendant carrying a composite bow and a set of arrows, a citadel in the background with Persian inscription, reverse with devanagari inscription, within blue borders, in gold rules, laid on pink card, the card and borders speckled in gold, 26 x 19.8cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. ÂŁ1,500 - 2,000

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58 An album page: Ganesha enthroned, Provincial Mughal school, second half 18th century, opaque pigments and gold on paper, Ganesha sits under a marble pavilion on a terrace flanked by two female attendants, his vehicle the rat depicted in the foreground, laid down on card with bold gold and polychrome floral margins, painting 17.5 x 8.6cm., page 38.6 x 26cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. ÂŁ700 - 900

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59 59 An illustration to an epic: possibly the Panchatantra or Mahabharata, Mewar, North India, circa 1720, opaque pigments and gold on paper, the main scene showing bare-chested devotees with sacred texts, others in conversation, three panels to the right, each with two figures including two female serpent figures, a yellow cartouche of two lines of black Devanagari at top, with red borders, 25.5 x 41cm.

For another painting from this series, see Christie’s New York, The Pal Family Collection, 20 March 2008, lot 222.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £1,000 - 1,500

60 60 An Illustration to an epic: possibly the Panchatantra or Mahabharata, Mewar, North India, circa 1720, opaque pigments and gold on paper, a deity, possibly Krishna, rides Garuda in combat with two horsemen, other deities around, the lower right corner with a couple in discussion within a marble pavilion, a yellow cartouche of two lines of black devanagari at top, with red borders, 26 x 41.7cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £1,000 - 1,500 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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61 An album page: A sleeping dervish, Mughal India, late 18th-early 19th century, opaque pigments and gold on paper, depicted seated against a tree, his implements around him, laid down on gold-speckled cream card, between blue and marbled paper borders, the reverse with old inventory numbers, painting 17.2 x 11cm.; page 38 x 25.7cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £800 - 1,200

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62 A Mughal prince, Provincial Mughal school, India, early 19th century, black ink and transparent pigments and gold on paper, he sits wearing an elaborate turban and green cape, he holds a large jewel, laid down between gold and blue borders, the reverse with erased inventory number, 15.4 x 11cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £500 - 700 63 Two illustrated folios from a book of Kings (Shahnamah), Mughal India, late 17th-early 18th century, from Firdawsi’s Shahnama, opaque pigments heightened with gold on paper, the first depicting the hero Rustam wearing his tiger helmet and coat slaying a fierce dragon, his horse Rakhsh attacking the dragon from behind, on a green ground; the other depicting two heroes in combat, one slaying the other, each richly dressed, watched by their respective armies, two camels with drum players at top, each illustration between lines of text in nasta’liq script arranged in four columns between double black and gold rules, within gold, black and red frame, each individually mounted, each folio 29.1 x 17.2cm.; illustrations 13.5 x 16.2cm. and 11.1 x 16.3cm. (2) Provenance: Private Collection, Switzerland formed between the 1970s-90s. £500 - 600

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64 A scene of men trying to tame an elephant, India, 18th century, opaque pigments on paper, a rampant elephant overturning a horse and its rider, mounted, 15.5 x 20.4cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £600 - 800 65 A portrait of a Mughal Noble, North India, 18th century, opaque pigments heightened with gold on paper, depicted facing right, wearing a pink turban with a pearl string, and a fur-lined coat embroidered with polychrome floral motifs, in a drop-shaped medallion within gold rules, the spandrels with gold floral scrolls on deep blue ground, the margins with simplified lattice, with black rules, the borders within elegant floral sprays and scrolls, one line of black nasta’liq above, 17.2 x 12cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £600 - 800 66 A yogini, Provincial Mughal school, India, late 18th century, black ink, transparent colours and gold on paper, she sits on a tiger skin her legs retained by a yogic band, a vina laid down behind her, a cloudy sky above, with silverspeckled pink borders, the reverse with inscription in pencil, 15.3 x 10.2cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £500 - 700

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67 A Mughal noble and his elephant, India, 20th century, opaque pigments on paper, an haloed noble facing right mounts his richly caparisoned elephant, two attendants are paying their respects, with wide burgundy margins with gold floral scrolls, in yellow rules, 34.6 x 42cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £500 - 700

67 68 An album page: A Mughal youth with a bird, North India, late 18th-early 19th century, opaque pigments and gold on paper, the youth depicted standing, wearing a turban and an orange jama, holding a bird, laid down on card with blue floral borders, the reverse with a calligraphic panel in nasta’liq script arranged as eight panels, each of two lines, on gold and polychrome illuminated ground, mounted, 33.3 x 21.6cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £300 - 500

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69 A shepherd and his ram, Qajar Iran, 19th century in the Safavid style, black ink, opaque pigments and gold on paper, facing left, amidst swaying ferns and bushes, the shepherd wearing a simple attire tied with a chequered yellow sash, kneeling to secure his ram’s tethered to the ground, laid on card with gilt foliated scrolls, between borders with recurring gold foliage patterns with blue, gold orange and black rules, painting 20 x 11.8cm., folio 27.2 x 18.5cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £400 - 600

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70 An equestrian portrait of a Rajput ruler in armour, Rajasthan, North India, early 19th century, opaque pigments on paper, facing left, wearing a full length coat of mail, bazuband and helmet adorned with white swaying feather, bearing two tulwars, a shield and a quiver to his left side, holding a lance in his right hand and the reins of his caparisoned mount in the left, a steep green hill in the background, between wide red borders within yellow rules, the reverse with a Devanagari inscription in black ink, 16.2 x 26.3cm.

71 The Prophet Khidr, Provincial Mughal India, late 18th-early 19th century, opaque pigments heightened with gold on paper, facing left, on grassy and floral ground, with long white beard, holding a bowl and a string of prayer beads in his hands, a walking stick leaned against his torso, wearing a green turban and long kaftan over striped trousers, laid down on an album page between gold and gold-speckled blue borders, with gold-speckled cream margins, painting 21.5 x 15cm., folio 38 x 26cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £500 - 700

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £600 - 800

72 The worship of Sri Nathji, Raghogarh, Rajasthan, North India, circa 1800, opaque pigments on paper heightened with gold, with Sri Nathji enshrined in a small temple flanked by four devotees, a miniature hilly landscape with monkeys, birds, elephants, cows, and small temple and cowherders in the foreground, surrounded by red margins, 28 x 21cm.; painting 23.2 x 16cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £500 - 700 73 An illustration to a Shivaite manuscript, Mewar, North India, circa 1700, probably an illustration from the Ramayana, opaque pigments heightened with gold on paper, a royal figure receives an offering from a larger figure with priests in the lower left hand corner, two lines of Devanagari above on yellow ground, set in red margins, 25.2 x 41.2cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £1,500 - 2,000 73

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74 An illustration from a series on musical modes (Ragamala) Malpura, North India, mid18th century, opaque pigments heightened with gold on paper, a young princess attended by two ladies sits within a pavilion painting her lover, before them he approaches on horseback accompanied by three attendants, a yellow panel with 6ll. of Devanagari above, between gold borders on wide red margins, painting 23.5 x 14.2cm.; folio 33.9 x 24.7cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £800 - 1,200 75 Lord Vishnu on Garuda appears to a devotee, Jaipur school, North India, 19th century, opaque pigments heightened with gold on paper, the deity carrying his attributes, depicted astride his vahana approaching a mountain top where a supplicant stands cross legged, in a simple yellow dhoti, a water lily pond in the foreground, in grey, blue, pink and green margins with yellow and red rules, 2ll. of red and black Devanagari script, framed and glazed, 28.8 x 20.7cm.

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Provenance: Private Collection, Switzerland formed between the 1970s-90s. £400 - 600

77 The goddess Durga, Eastern India, mid19th century, opaque pigments on paper, depicted seated on her mount, the tiger, wearing a tiara and red tunic, holding her attributes the conch, the bow, the arrow, the mace, the sword, the trident and the discus, in black rules, framed and glazed, 19.8 x 25.5cm.

76 An illustration from the Panchatatantra, India, 19th century, opaque pigments on cloth, in two registers, mounted, painting 33.3 x 20cm.

Provenance: Private Collection, Switzerland formed between the 1970s-90s. £400 - 600

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Provenance: Private Collection, Switzerland formed between the 1970s-90s. £300 - 500

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78 A Mughal bidri huqqa base, Lucknow, circa 1800, bell-shaped, the decoration with recurrent floral sprays between bands of dense floriated scrolls above and below, the flaring mouth with flowers, the base drilled, 17.5cm. high £800 - 1,200 79 A Mughal gilt-decorated glass vase, India, 19th century, of baluster form, on a round slightly domed foot with conical body, the narrow neck with ring widening at rim, the clear glass painted to body, neck with bands of flowers beneath cusped arches, the interior well of the vase containing a spray of glass flowers, 25.5cm. high For a similarly constructed Mughal huqqa base with glass flowers to interior see Sotheby’s, 25 April 2018, Lot 143, which indicates that these type of vases were said to derive from Venetian Bigaglia glasses. £1,500 - 2,000

80 A bone-inlaid and painted hardwood Sitar, India, early 20th century, the gourd face painted with scenes of Krishna, Ganesh, cows and other scenes, the neck with scrolling vine and flowers, the neck and gourd inlaid with fine double-border of inlay, the underneath with further inlay to upper neck and join to gourd, 103cm. long £1,000 - 1,500 81 A silver teapot on a matching basin, India, 19th-20th century, the teapot of lobed form and with base which sits inside the well of the basin, with curved spout terminating in a dragon head terminal, the lid flat with round handle, the basin on a globular round base, the wide rim with lobed edge, decorated to both with alternating plain and floral panels, overall height 23.5cm., basin 24cm. diam.

Weight: 1196 grams £600 - 800

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82 A silver hexagonal hinged box and a small domed silver betel box, India, 20th century, the first pierced lid and sides, the base decorated with a lattice design, the lid with panels of lattice with flowers, a central flower head to top; the domed box with rows of flower heads in squares, the lid similar but openwork, with pointed finial, hexagonal box 13.5cm. diam., domed box 8.5cm. high (2) Weight: the hexagonal box 400 grams; the domed box 236 grams £300 - 500

83 A large openwork silver incense burner, India, 19th-20th century, lead-lined, of circular form on three ball feet, formed in two sections, both with openwork lattice design of leaves and flowerheads, finial with four ball attachment, 25.5cm. diam. 21cm. high £700 - 900 84 A silver and gold inlaid Mughal huqqa base, India, mid-18th century, of rounded form, with ring to neck, with elegant large flowering plants between vertical bands of silver and gold four-petalled flowers, a further band around shoulder enclosing floral decoration now lacking, the neck with floral band, the base with gold flowering band, 22.5cm. high £1,200 - 1,500 85 A Mughal silver inlaid bidriware circular lidded box, India, 18th century, decorated to lid and sides with large flower heads and scrolling leafy vines, 14.9cm. diam. £900 - 1,200

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86 A pierced bronze incense burner in the form of a bird, Deccan, 16th century, the bird with a scrolling branch from its mouth, on pierced domed stand, 27cm high Note: The peacock was a popular motif in all periods of Indian art.

Mark Zebrowski comments on a similar piece attributed to Deccan, late 15th or early 16th Century, in a private collection: “A large incense burner in the shape of this proud bird strikes a remarkable balance between the abstraction of Islam and the sculptural qualities of the Indian tradition” (Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p. 95, fig. 87).

Provenance: Collection de S.E. Claude Achille Clarac (1902-1999), ambassador de France, Chateau de Haute Roche £1,000 - 1,500

87 A Mughal brass ewer, engraved with Persian figures, India, 17th and 18th century, on a high round foot, the globular body rising to a point, the straight spout terminating in a dragon head, the circular handle with rectangular lidded opening to top, finely engraved to body with a processional scene either side on a dense floral ground, three bands of repeating flowers and arabesque above, figures contained in triangular segments to top, roundels containing figures to lower body, the handle with bands of horizontal arabesque, the spout similarly engraved but with figures to base, 33.3cm. high £1,000 - 1,500 88 A Mughal brass ewer, India, 18th century, of squat form with faceted straight spout and curved sshaped handle terminating in a bud, the domed lid with bud-shaped finial, 24.5cm. high £200 - 300

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89 An engraved Mughal brass ewer, India, 18th century, of globular form on a splayed foot, with straight spout and curved handle terminating in a bud, the ribbed body with design of flowers, spout with similar, the foot and handle with design of repeating chevrons, missing lid, 23.5cm. high £300 - 500

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90 An engraved Mughal brass ewer, India, 19th century, of globular form, on three short, round feet, with straight faceted spout, curved handle terminating in a dome, the lid with finial of the same form, decorated to body with design of small petals, 28.5cm. high £200 - 400 91 91 Two engraved copper bowls, Deccan, 17th century, the first of tinned copper engraved to centre with shamsa design, and to rim with cartouches containing lotus flowers, the second engraved to centre well with shamsa and lobed cartouches, the rim with cartouches, one containing a nasta’liq inscription, 36.6cm. and 36.8cm. diam. (2) Provenance: Private Collection of Alexander ‘Sandy’ Morton (1942-2011) Sandy Morton (1942-2011) worked at the British Museum and as Senior Lecturer in Persian at the London School of African and Oriental Studies (SOAS). His interests ranged widely over the field, from glass weights and numismatics to Persian literature and the history of Iran from the Saljuqs to the Safavids. £600 - 800 92 An engraved deep copper bowl, Deccan, dated 1037AH/1627-28AD, of compressed globular form with wide everted rim, engraved to the well with a central roundel containing a wheel of radiating palmette motifs surrounded by five fish, the rim with a frieze of six pole medallions variously containing vegetal interlace; a hare and other quadrupeds; and an owner’s inscription, 34.5cm diam.

Inscriptions: ‘Its owner Haji Reza, year AH 1037/AD 1627-28’.

Provenance: Private Collection of Alexander ‘Sandy’ Morton (1942-2011) £800 - 1,200

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93 An engraved tinned copper dish, Deccan.

17th century, with owner’s inscription “Ahmed Kamir (?)”, of deep form with gently sloping everted rim, engraved to centre well with roundel featuring swirl of flowers on a ground of alternating fish and stylised flowers, the rim with further flowers, 42cm. diam.

Provenance: Private Collection of Alexander ‘Sandy’ Morton (1942-2011) £800 - 1,200

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94 A large brass pilgrim flask, probably Deccan, Central India, 17th/18th century, of typical crescent shape with scrolling volute terminals, long slightly flared neck, domed lid, and slightly curved spout, on raised faceted foot, with a pair of attachment rings at the base of the neck and lappet with drooping lobed medallions, 39cm. high 94 A number of comparable flasks can be found in Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London 1997, pp.202-3, nos. 301 and 308-315. The design, Zebrowski writes, evolved in order to carry water and wine on journey or into battle and the shape related to the pilgrim flask of medieval Europe and was, as R.H.Pinder-Wilson (and M. Tregear, “Two Drinking Flasks from Asia”, Oriental Art, Vol. XVI, no. 4, winter 2970) originally suggested, probably derived from the leather containers often depicted in Mughal and Persian painting. £6,000 - 8,000 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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95 95 A large bronze bird of prey, India, 18th century, feathers engraved to tail, legs, lower chest and head, the back crudely engraved with large kufic inscription, the neck with two bands of flowers and a kufic band between, mouth open, 29.3cm. high £200 - 400

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96 A Mughal brass ewer with later Persian engraved decoration, India, 18th century, on a splayed round foot, the round body with flattened sides, the neck faceted with ring and rising to an ovoid mouth, the handle curved and spout curving towards end, engraved with to one side with an enthroned ruler and his consort with dancing demons below, the other with an enthroned ruler with an advisor and attendants, figures on horseback, all on a dense ground of flowers, the foot, neck and spout with a design of split-palmettes, a large lobed medallion containing an equestrian figure to one side partially hidden by the handle, pseudo-inscription below, 29cm. high £600 - 800 97 A brass vase, India, 18th century, of baluster form, on a domed foot, with wide flaring rim, 24.2cm. high £200 - 300 98 A rare brass huqqa base in the form of a yak’s horn, Skardo, Baltistan, 18th century, the body with openwork brass and copper mounts with meandering floral scroll and arabesques, 18cm. high x 10cm wide at base £1,000 - 1,500

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99 A Mughal openwork brass pencase, North India, late 18th or early 19th century, of typical form, the hinged lid and sides pierced with an openwork foliate design, 22.5cm long £800 - 1,200

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100 A pair of engraved gilt bazubands with hanging elements, Malaysia or India, 19th century, of lobed ovoid form, curved to fit the arm and with central raised ridge, perforated holes to border from which chains are suspended from the lower part with crescent shapes, flower heads and oval shapes, 27.5cm. long (2) £800 - 1,200 101 A Deccani zoomorphic calligraphic lion, India, 17th century, ink and gold on paper, composed of the Arabic poem commonly called “nadi ali”, in homage to Imam Ali, forming a lion mounted on album page with floral margins, mounted, glazed and framed, 24 x 35.5cm.

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Provenance: Christie’s October 16, 2001, Lot 54 £10,000 - 12,000

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102 A Qur’an section, Mughal India, 18th century, comprising Qur’an XXXVI, sura ya-sin; Qur’an XLVIII, sura al-fath; Qur’an LVI, sura alwaqi’a; Qur’an LXII, sura al-jumu’a; Qur’an LXVII, sura al-mulk; Qur’an LXXIII, sura al-muzammil; and Qur’an LXXVIII, sura al-naba; Arabic manuscript on gold-speckled paper, 64ff. each folio with 3ll. of large rounded muhaqqaq framing two panels of text, each with 3ll. of black naskh, each page finely illuminated in gold and polychrome with floral panels, opening bifolio heavily illuminated, unsigned, undated, restored margins throughout, final two bifolios with added prayers, in 19th century gilt morocco, folio 20.5 x 13cm. £600 - 800

103 Bhils hunting at night, Mewar, Jodhpur, circa 1780, opaque pigments on paper heightened with gilt, depicting a lady shining a torch on a group of gazelles, her companion drawing back his arrow, within red border, 20.5 x 14cm.

Provenance: Maggs Bros. London, 1980; Pava Collection, Connecticut 1980-2014 Published: Maggs Bros., Oriental Miniatures and Illumination, Bulletin no. 32, London, February 1980 £800 - 1,200 103

104 Portrait of Maharaja Gaj Singh, Jodhpur, Rajasthan, North India, late 18th century, opaque pigments heightened with gold on paper, standing facing right, wearing a fine turban, a white jama and pearl necklaces, both hands resting on his sword, on green ground, laid down on card, mounted, 23 x 14.5cm Provenance: Private Collection of Günter Heil (1938-2014), Berlin £800 - 1,200

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105 Twenty Four Avatars of Vishnu signed Ganesh Chateraki, Jaipur, Rajasthan, North India, circa 1900, opaque pigments heightened with gold on paper, inscribed in devangari, painting 32.9 x 23.9cm, folio 36.3 x 27.5cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £400 - 600

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106 Two folios Ramayana Manuscipt: Ravana by a River and Hanuman Fighting, Jaipur, Rajasthan, North India, 19th century, opaque pigments heightened with gold on paper, the reverse with 11ll. of red and black devangari, Ravana by a river painting 8.8 x 21cm., folio 17 x 27.2cm.; Hanuman fighting painting 9.9 x 21cm., folio 17 x 27.2cm. (2) Provenance: Private Collection of Günter Heil (1938-2014), Berlin £400 - 600

107 A Prince surrounded by demonic courtiers, Mewar, mid-18th century, opaque pigments heightened with gilt on paper, seated on a terrace, pavilion to right and a river running behind, a garden and fountain to the foreground , two lines of black devangari text above and below, within red border, 25 x 27cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £800 - 1,200

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108 108 A group of four Indian paintings, including a portrait of Maharaj Amar Singh of Patyala (17651781AD); a painting of women on a terrace spoking a huqqa, Deccan, late 18th century; a lady reclining, Kangra, Punjab Hills, circa 1790; a Prince surrounded by demonic courtiers, Mewar, mid-18th century; and four ganjifa cards, Mysore, 19th century, mounted, the Kangra lady 21.4 x 14.4cm. (3)

109 Two folios from a Muhunta series, Punjab, North West India, circa 1840, opaque pigments heightened with gold on paper, each depicting a single deity in a sparse landscape, grass tufts in the foreground and sunset sky at top, within blue, yellow and white rules with large red borders, each deity identified in black devanagari script below, the reverse with text in takri script, each 26.6 x 19.5cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £800 - 1,200

Provenance: Private Collection of Günter Heil (1938-2014), Berlin Note: Two other paintings from this series sold in India on Paper: A Private Collection of Paintings 1600s-1800s, 29 May-12 June 2014, lot 548. £400 - 600

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110 A folio from a Munhunta series, Punjab, North West India, Circa 1840, opaque pigments heightened with gold on paper, each depicting a single deity in a sparse landscape, grass tufts in the foreground and sunset sky at top, within blue, yellow and white rules with large red borders, each deity identified in black devanagari script below, the reverse with text in takri script, each 26.6 x 19.5cm. (2)

112 A folio from a Munhunta series, Punjab, North West India, circa 1840, opaque pigments heightened with gold on paper, each depicting a single deity in a sparse landscape, grass tufts in the foreground and sunset sky at top, within blue, yellow and white rules with large red borders, each deity identified in black devanagari script below, the reverse with text in takri script, each 26.6 x 19.5cm. (2)

Provenance: Private Collection of Günter Heil (1938-2014), Berlin Note: Two other paintings from this series sold in India on Paper: A Private Collection of Paintings 1600s-1800s, 29 May-12 June 2014, lot 548. £400 - 600

Provenance: Private Collection of Günter Heil (1938-2014), Berlin Note: Two other paintings from this series sold in India on Paper: A Private Collection of Paintings 1600s-1800s, 29 May-12 June 2014, lot 548. £400 - 600

111 A folio from a Munhunta series, Punjab, North West India, Circa 1840, opaque pigments heightened with gold on paper, depicting a single deity in a sparse landscape, grass tufts in the foreground and sunset sky at top, within blue, yellow and white rules with large red borders, each deity identified in black devanagari script below, the reverse with text in takri script, each 26.6 x 19.5cm. (2) Provenance: Private Collection of Günter Heil (1938-2014), Berlin Note: Two other paintings from this series sold in India on Paper: A Private Collection of Paintings 1600s-1800s, 29 May-12 June 2014, lot 548. £400 - 600

112 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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113 Portrait of Sri Vijay Singhi, Jodhpur, North India, circa 1770, opaque pigment heightened with gold on paper, Sri Vijay Singhi sits on a silver throne on a carpeted terrace wearing gold embroidered green robes, beyond him a group of attendants stand, some holding a tulwar and shield, later inscription on reverse, 27 x 20cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin Literature: J. Bautze, Indian Miniature Paintings, exhibition catalogue, Amsterdam, 1987 £1,000 - 1,500 114 Portrait of the Paymaster Bhalavji, Bundi, circa 1840, opaque pigments heightened with gold on paper, the figure stands behind a banister, his arms folded and a red turban with gem-set sarpech on his head, within wide red borders with black and white minor rules, a calligraphic identification cartouche in the upper border, 35.4 x 26.5cm.

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115 Portrait of Thakur Salem Singh with attendants on a terrace, Jodhpur, Marwar, Rajasthan, North India, circa 1840, opaque pigments heightened with gilt on paper, identified in devangari script on reverse, painting 21.8 x 25.8cm. folio 22.3 x 26.2cm.

Exhibited: Indian Miniature Paintings, Amsterdam, 1 October-30 November 1987 £1,200 - 1,500

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £600 - 800

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116 Maharaja Mulraj of Jaisalmer, Jaisalamer, India, dated Samvat 1882/1825AD, opaque pigment heightened with gold on paper, the nimbate Maharaja Mulraj sits on a terrace upon a gold illuminated carpet a shield in one hand and a rose in the other, inscription in black devanagari below the sitter, the reverse with a preparatory sketch and later owner’s notes, 20 x 15.2cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £800 - 1,200 117 Three folios from a Kalpasutra manuscript, 15th century, Gujarat, North West India, opaque pigments on paper, each with 7ll. of devangari to reverse, 26 x 11cm. (3) Provenance: Private Collection of Günter Heil (1938-2014), Berlin £200 - 300 118 Portrait of Maharana Amar Singhji receiving Saktarvavarji, Mewar, Rajasthan, North India, dated Samvat 1761/1704AD, opaque pigments heightened with gold on paper, identified in devanagari, painting 26.8 x 18.3cm.; folio 31.5 x 21cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £200 - 300

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120 119 A portrait of Raja Madho Singhji at a Jharokha window, Uniara, North India, second half 18th century, opaque pigments heightened with gold on paper, identified in devanagari on reverse, painting 20.4 x 12.9cm.; folio 23.7 x 16.8cm.

Provenance: Private Collection of Günter Heil (19382014), Berlin £700 - 900 120 An equestrian portrait of the Maharaja of Jodhpur, Marwar, India, circa 1740, opaque pigments heightened with gold on paper, the Maharaja, wearing white robes and floral sash sits atop a large horse, a shield, sword and bow and arrow at his waist, laid down on buff paper with flyleaf, reverse with later owner’s notes and the stamp of the Maharaja of Bundi, 25.3 x 19cm.

Provenance: Private Collection of Günter Heil (19382014), Berlin £1,000 - 1,500

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121 Portrait of Rao Mukund Singh of Kota, Mewar, Rajasthan, North India, mid-19th century, opaque pigments heightened with gold on paper, identified in devanagari, painting 20.1 x 14.2cm.; folio 24.7 x 18.6cm.

Provenance: Private Collection of Günter Heil (19382014), Berlin £300 - 400

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122 King James I of England, After a European print, Rajasthan, North India, probably 19th century, opaque and transparent pigments on paper, painting 11.8 x 10.2cm.; folio 16.8 x 14.3cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £200 - 300 123 Illustration from the Gita Govinda: Krishna and Arjuna in a chariot, Kangra, Punjab Hills, North India, 19th century, opaque pigments heightened with gold on paper, painting 18.1 x 23.2cm.; folio 24.8 x 30cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £800 - 1,200 124 Portrait of a European gentleman, Hyderabad, 18th century, opaque pigments on paper, the moustachioed plump man depicted seated near a balustrade, wearing a dark purple turban, a pink tunic with floral motifs held with a green sash, his left hand holding a pistol, two inscriptions in black nasta’liq script below, the reverse with two lines of black devangari script, with collection stamp, 31 x 18.7cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £700 - 900

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125 A Princely couple on a terrace by Gumana, Jaipur, Rajasthan, North India, circa 1820, opaque pigments heightened with gold on paper, the couple in a amorous embrace seats on a large padded chair, he wears an elaborate hat after European fashion, both under an awning, surrounded with female attendants, a lake appearing behind the balustrade, a cloudy sunset sky at top, laid down on goldspeckled pink border with blue and cream margins, the reverse with devanagari inscription, painting 24.2 x 16.5cm.; page 44.7 x 31.5cm.

Provenance: Collection of Kumar Sangram Singh; Private Collection of Günter Heil (1938-2014), Berlin On verso: kalam gumanâ kî (style of Gumanâ) For another painting by Gumana, see Rita Pratap, The Panorama of Jaipur Paintings, 1996, No. 1, p. 191, no. 13. £2,000 - 3,000

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126 An illustration to a Ragamala series: Kanada Ragini, probably Bundi, Rajasthan, North India, second half 18th century, opaque pigments heightened with gold on paper, the form of Krishna holds the severed tusk of a collapsed elephant which he has subdued, with armed soldiers opposite and a female attendant behind, an avian vehicle flies above with garlands, a line of devanagri on yellow ground above, the reverse with a stamp of kumar sangram singh of hawalgarh, 30 x 24.5cm.

Provenance: Private Collection of Günter Heil (1938-2014), Berlin £2,000 - 3,000

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127 127 An illustration from the Ramayana, North India, Udaipur, 1700-1710, opaque pigments and gold on paper, mounted, glazed and framed, 26.2 x 39.5cm. ÂŁ3,000 - 5,000

128 128 An illustration from the Ramayana, North India, Udaipur, 1700-1710, opaque pigments on paper heightened with gilt, depicting King Dasharatha and Queen Kaikeyi with their four sons, mounted, glazed and framed, painting 26.2 x 39.5cm. ÂŁ3,000 - 5,000

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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129 Visvamitra brings Rama and Laksmana to the bank of the Sarayu river, Mandi, circa 1800, opaque watercolour on paper, inscribed on the verso with the relevant text in Hindi from Balakanda ch. 22 and the number 37, and the numbers of the Mandi royal inventory on the cover sheet 37 and 4521, mounted, painting 29.5 x 42.5cm.

Provenance: Private Collection, Germany; Royal Mandi Library Having led the two princes along the banks of the river Sarayu, Visvamitra uses its water to grant two magic spells to Rama which will enhance his powers.

While most of the Pahari styles were transformed in the later 18th century by the sons and grandsons of Manaku and Nainsukh into versions of the Guler and Kangra styles, the same does not seem to have happened in Mandi until considerably later. Raja Isvari Sen (1788-1826) for many years (1791 or 1793 to 1805) had been kept captive at the court of Raja Sansar Chand of Kangra. There he came into contact with the latest trends in Pahari painting. He took one painter of this school named Sajnu back to Mandi with him and there he initiated a transformation in Mandi painting from about 1810 that brought in some of the more lyrical elements of the Guler/Kangra style and in particular their facial profiles.

In the meantime Mandi painting had still retained its strangely squat figures with their distinctive sharp nosed profiles. Colours such as the dull browns and slate blues survive from the earlier style which had been used mostly for portraits of the rulers, but are now joined by hot colours such as the vivid oranges, reds and yellows seen in these paintings. Since the state was strongly Saivite and also worshipped the Devi (although formally dedicated to Krishna as Madho Rai) there was little incentive for the production of illustrated Vaisnava texts such as the Bhagavata Purana or Ramayana although a few pages are known from such manuscripts (Archer 1973, Mandi no. 27 and Archer 1968, no. 66). These Ramayana pages from an obviously extensive series are therefore evidence for considerable changes in attitude prior to the arrival of Sajnu in Mandi around 1808 when he painted a dated portrait of Isvari Seen now in the V & A Museum (Archer 1973, no. 46). Dull blue and green trees are somehow vividly silhouetted against even duller grounds and are countered by brilliant orange, green and yellow elsewhere.

Archer 1976 (p. 114) points out some of the relevant features found in Mandi painting of the later 18th century which are also seen in these paintings: the sharply cut features and long eyes (all 5 of the paintings here), the midget trees sprinkled with blossom (all but ML725), and the pink striped rug with wriggly lines between each stripe (ML722). The bold outlines of bare intersecting hills of ML 723 may be compared with those in Archer 1976 no. 60, where Siva leads Parvati through a similar type of landscape ‘dotted with trees like speckled mushrooms,’ and the depiction of water through faint basket-pattern lines seen in all five paintings may be compared with the water in Archer’s ‘Lady at a Toilette’ (ibid., no. 61).

It is very possible that this late 18th century style in Mandi has been influenced by work going on in the neighbouring state of Kulu. The style here has distinct references to the work of the artist Bhagwan who worked for Raja Pritam Shah. Bhagwan’s brilliantly coloured work is known from several sets of the 17901800 period, including a Bhagavata Purana and several Madhumalati sets. See Archer 1973 Kulu 36-40 and Aijazuddin Kulu 2. The landscape background in ML725 with its hills and hillocks outlined in green in vivid contrast to the pink ground is seen in Bhagvan’s Bhagavata Purana series (Aijazuddin 2xxxii). The backgrounds seen throughout of vividly coloured and well differentiated trees is found in Bhagwan’s work of the 1790s but more particularly earlier such as in a Baz Bahadur and Rupmati riding scene from 1775 (Archer Kulu 34). While Bhagvan’s facial profile is veering towards the straight, the sharply pointing out noses seen in our series is found in a chaupar players painting of 1775-80 (Archer Kulu 35).

Literature Archer , W.G., Rajput Miniatures from the Collection of Edwin Binney, 3rd, Portland Art Museum, Portland, 1968 Archer, W.G., Indian Painting from the Punjab Hills, Sotheby Parke Bernet, London, 1973 Archer, W.G., Visions of Courtly India: the Archer Collection of Pahari Miniatures, International Exhibitions Foundation, London, New York, 1976 Aijazuddin, F. S., Pahari Paintings and Sikh Portraits in the Lahore Museum, Sotheby Parke Bernet, London, 1977 £3,000 - 4,000

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131 130 A painting from a Ragamala: Gujjari Ragini, India, Marwar, circa 1725, gouache on paper, depicting a lady with a musical instrument and attendant behind, under a canopy, trees behind with cranes perched in the branches, three lines of devangari above, mounted, glazed and framed, painting 26.4 x 20.5cm.

Provenance: Private Collection Peter Cochrane; Sotheby’s 7th April 1975 £800 - 1,200 131 A seated noble smoking a huqqa, Mandi, circa 1770, gouache on paper heightened with gilt, shown kneeling wearing a red robe, mounted, glazed and framed, painting 19.5 x 13.5cm.

Provenance: Private Collection Peter Cochrane £600 - 800 132 A noble visiting a sage, Jodhpur, circa 1790, gouache on paper heightened with gilt, shown seated, with fruits laid out on the yellow ground, within red border, mounted, glazed and framed, painting 25.5 x 18.9cm

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Provenance: Private Collection Peter Cochrane £1,200 - 1,500

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133 133 A nobleman before a ruler, with attendant behind, Basholi, circa 1800, gouache on paper heighted with gilt, with applied pearls, mounted, glazed and framed, painting 28.4 x 25cm.

Provenance: Private Collection Peter Cochrane ÂŁ3,000 - 5,000

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134 A lady arranging her hair, a series from a Ragamala painting, Kangra, circa 1820, opaque pigments on paper heightened with gilt, shown seated on a cushion with her legs crossed, in a small chamber with blue and white vases displayed in arched niches, set within an oval, the spandrels decorated with flowers, inscribed in nasta’liq to recto and verso, mounted, 18.4 x 11cm.

Provenance: Private Collection Sven Ghalin, London, 1960s £600 - 800

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135 A portrait of the Emperor Muhammad Shah, Mankot, 2nd quarter 18th century, opaque pigments on paper heightened with gilt, shown standing wearing floral robes and smelling a flower, inscribed to verso, “Muhammad Shah”, with old collection label, mounted, 24.3 x 17.5cm.

Provenance: Private Collection Sven Gahlin, London 1960s £700 - 900

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137 136 A Mughal gem-set jade pendant with inscribed carnelian, India, 18th century, of oval domed form with foliate shape either side, attachment loop to top and either side, the centre with fine oval Safavid seal inscribed in nasta’liq script, a ruby and emerald set gold foliate design around, diamond and emerald stones set either side, the reverse with carved design of flowers into the jade, 6.5cm. diam. £600 - 800 137 A Mughal inscribed cabochon emerald set gold pendant, India, 19th century or earlier, of ovoid form, the foil-backed emerald inscribed with three lines of fine nasta’liq script, set into a gold mount set with rose-cut diamonds and surrounded by a line of rubies either side, the reverse with flower head design in gold set with central diamond, surrounded emeralds on a ground of rubies, row of seed pearls strung below, golf flower head suspension loops above, on a modern gold string, 5cm. diam £800 - 1,200 138 Three gem-set white jade pendants, India, 19th century, each decorated with gold wire and inlaid with diamonds, rubies, and emeralds, suspension loop carved to top, 3.2cm., 3.2cm and 4cm. diam. (3) £500 - 700

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139 A diamond-set enamelled gold hexagonal box, Jaipur, Rajasthan,19th century, of octagonal form, with faceted domed lid, the eight lateral walls with alternating white and gold grounds with champleve red, green and blue enamel decoration of flowers, foliage and peacocks, framed within two geometric bands in light blue enamel, the base richly decorated with a dark blue medallion with gold trellis surrounded by a floral band of red flowers, the hinged lid with a bud-shaped dark blue finial set with four diamonds rising from from a low octagonal step painted light blue and red enamels, the eight dark blue panels of the lid set with multi-faceted diamonds in simple kundan arranged to form flowers, opposite the hinge a small catch with two gold spheres, the interior enamelled in translucent green over engraved panels, 4.3cm. high Provenance: Private Collection UK since the 1960s An almost identical example exists in the Nasser D. Kahlili Collection, dated to the mid-19th century. See Pedro-Moura Carvalho, Gems and Jewels of Mughal India, 2010, p. 286, fig. 166. ÂŁ6,000 - 8,000

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140 140 A ruby-set ‘makara head’ gold bracelet (Toda), South India, 19th Century, fabricated from gold sheet with repoussé and chased decoration, the makara head terminals with ruby-set eyes holding between their open mouths a spherical element depicting a kirtimukha on both sides, with gem-set screw to top, the hinged band composed of further graduated makara heads, 7.2cm. outer diam., 5cm. inner diam.; 60.2 g.

Provenance: Private UK collection; Such bangles were worn by kings and princes in South India in the 19th century and were bestowed by them as a mark of favour. There is a comparable example in the collections of the Victoria and Albert Museum in London (inv. no. 03291(IS)). £1,000 - 1,500 141 A pair of gem-set gold bangles, India, 19th century, made of a solid gold band, plain to interior, the exterior with emeralds, spinels and diamonds in raised claw settings, smaller stones set into the band, hinge and pin clasp, 7.1cm outside diam., 4.8cm. interior diam. (2) £700 - 900

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142 An garnet-set gold bead necklace, South India, 20th century, formed of a series of gold ovoidshaped balls, with openwork applied top and bottom, a band of garnets around mid-section of each bead, with hook and chain attachment, 39cm. £800 - 1,200

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143 144 143 A gem-set gold Navratna bracelet, Northern India, second half of 19th century and later, formed of eight rectangular gold plaques set with a variety of semiprecious stones including coral, opal, turquoise and garnet, the central stone within an oval setting with eight surrounding stones and a further four stones above and below, the reverse with enamelled birds on a floral ground, 16.5cm. long ÂŁ1,200 - 1,500 144 A gem-set gold Navratna pendant, India, 20th century, arranged as a flower head with gem-set petals, emerald suspended below, the reverse enamelled with red floral motifs on a green ground, on a modern gold chain, pendant 4.6cm. high ÂŁ600 - 800 145 A diamond-set necklace, India. 20th century, the ovoid gold pendant with a large foilbacked diamond to centre encased in gold and with a surrounding band of spinels, the reverse enamelled with a large red flower on a white ground, with blue and green leaves, a circular diamond above, suspended on a chain of spinels, seed pearls and gold beads, hook and eye clasp, 25.2cm. long ÂŁ1,800 - 2,000 145

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148 146 A pair of emerald and diamond-set gold earrings, India, 20th century, the foil-backed emerald of rectangular faceted form, within a gold frame, framed above by a series of diamond-set petal shapes, and with three similar diamond-set hanging elements below, the whole suspended from a diamond set flower, stud backing, 5.1cm long (2) £1,000 - 1,500 147 A pair of turquoise and diamond-set gold earrings, India, 20th century, formed of a gold central crescent shape set with diamonds, with seed pearl attachments and turquoise drop suspended below, the diamond and turquoise-set fish-shaped upper section with hook attachment, 7cm. long (2) £800 - 1,200

149 149 A diamond-set enamelled ring, India, 20th century, the bezel in the form of an abstract flower with central foiled emerald, four small diamonds, and either side two smaller emeralds, the back of the bezel enamelled in red, blue and white, the band plain, ring size L £400 - 600 150 A diamond-set enamelled ring, India, 20th century, the bezel of domed form set with diamonds in the form of a flower head, on a cobalt blue enamel ground, the band enamelled with red flowers, green leaves on a white ground, the interior plain, ring size L £400 - 600

148 A diamond-set enamelled ring, India, 20th century, the bezel a flower head set with foiled diamond and further diamonds to petals on a green enamel ground, the band red, white and green design, the interior of the band plain, ring size K approx. £400 - 600

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151 A brass Vizagapatam toy soldier, India, circa 1790, modelled riding a camel and carrying a bayonet, sword and bow, mounted on the saddle, on a rectangular base, 18cm. high.

Provenance: Private UK collection since the 1990s Another of these toy soldiers was sold in these rooms 24 April, 2017 Lot 295.

The ‘Vizagapatam Toy Soldiers’ are a set of lateeighteenth century brass toy soldiers held by the Ashmolean Museum in Oxford, the Victoria & Albert Museum in London, the National Army Museum, and the Sandringham and Madras Museums in India. A number of other soldiers are thought to be privately owned. Vizagapatam was an ‘epic’ city and famous at the time for its bronze casting. The models represent the troops of the Sultanate of Mysore at the time, which was ruled by Tipu Sultan (1750-1799), also known as the Tiger of Mysore. The toy army may have been made for one (or several) of his 16 sons.

For a similar soldier in the collection of the Ashmolean Museum, Oxford, See S. Digby and J.C. Harle, Toy Soldiers and Ceremonial in PostMughal India, 1982, plate 9. £2,000 - 3,000 151 152 A brass toy figure of a soldier, India, 19th century, on a rectangular base, the rider and horse cast separately, wearing a rounded hat and formerly brandishing a spear, 8.5cm. high £300 - 400

153 A Koftgari box, India, late 19th century, of rectangular form, decorated in gold and silver to lid with a central design of a four-pointed flower containing a flower head, the arms containing smaller flowers, and with four oval medallions containing a blooming flower to interstices, on a ground of leafy vine, within a repeating border of alternating silver and gold flowers, a small hatched band of gold surrounding, the sides with repeating ovals containing flowers, the interior with wood inlay, 17cm. diam x 13.2cm deep x 4.9cm. high £200 - 300

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154 An Indo-Portuguese bone and ivory-inlaid hardwood and ebony box, Goa, 17th century, of rectangular form, decorated on each side with inlaid designs of stars and circles, hinged lid, two sliding drawers, lock broken, 41cm. length x 32cm. x 15cm. high ÂŁ1,000 - 1,500

155 A fine Indo-Portuguese mother-of-pearl decorated pipe (cabuk), Goa, 18th century with silver mounts by John King, London, late 18th century, the mother-of-pearl segments in the form of flowers, leaves, and crowns, with tiny metal studs running between, 6cm. high ÂŁ1,200 - 1,500

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156 A Mughal rock crystal carved floral perfume flask, India, 19th century, the flask of slightly globular form carved in relief with stylized floral spray and palmettes, the stopper carved with a flower head, 5.2cm. high £600 - 800

157 A Mughal amethyst lobed glass bowl, India, 19th century, of oval form, on short foot, 11.9cm. diam. £400 - 600 158 A group of lobed rock crystal beads, India, 15th-19th century, drilled to centre, four large and one small, largest 4cm. diam. (5) £300 - 350

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159 A silver-inlaid Bidri stand, Deccan, Central India, late 17th-18th century, of circular form, on three legs, the recessed centre decorated with silver-inlaid individual tree forms, the wide outer rim with elegant lattice decoration comprising floral motifs, 36cm. diam. x 5.5cm. high £1,200 - 1,500 160 A bidri vase, India, early-mid- 20th century, of globular form, on a short foot, the tall slender neck with ring just below the slightly everted mouth, decorated to body with a series of arches containing an alternating pattern on flowers and latticework, to shoulder a repeating bland of flowers, a similar design to the neck, to mouth and foot a repeating band of stylized petals, 29cm. high £300 - 500

161 A white marble lingam and yoni, India, 19th century or earlier, carved in one piece with the lingam rising from the yoni, a spout at one end to allow unguents to run off, 50cm. long x 27cm. high £200 - 250 162 A silver gilt bird, India, 19th century, on a round raised base, shown with puffed out breast and holding a flower bud in its beak, the tail fanned, 13cm. high For a very similar example see Sotheby’s 25 October 2017, Lot 176 £200 - 300

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163 163 A portrait of a nobleman with bow and arrow, Basohli school, c. 1690, shown seated and barefoot, his shield carried over his shoulder, his bow in one hand and arrow in the other, framed, painting 20 x 15cm.

Private Collection UK since the 1980s £600 - 800 164 An illustration to a Ragamala series, Sirohi, 17th century, gouache on paper heightened with gilt, depicting a prince and a courtesan seated within a palace on a striped floor covering, a peacock stands on the roof and a flowering plant is to the left, two lines of devangari script on a yellow ground above, further inscription to reverse and no. 29, 20.5 x 15cm. £300 - 500

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165 An illustration to a Ragamala series, Amber or Jaipur, first half 18th century, gouache on paper heightened with gilt, depicting a night scene of prince making an offering to an ascetic, within a palace setting, hills with a temple behind, and to the foreground a musician and the prince’s horse and groom seated on the steps waiting for their master, with six lines of black Devanagari on a yellow ground above, within a gold border, painting 16.4 x 24cm. £400 - 600 166 Gauri Ragini ‘’An illustration to a musical mode”, Amber, Rajasthan, circa 1740 at Amber, Rajasthan, gouache on paper heightened with gilt, depicting a courtesan with garlands of flowers summoning peacocks, with 4ll. of black Devanagari text on a yellow panel above, painting 18 x 25.5cm., page 24 x 31cm. £300 - 500 167 An illustration to a Ragamala, Rajasthan, 19th century, opaque pigments heightened with gilt on paper, depicting a lady offering a garland of red flowers to her lover, a pavilion with attendant behind and darkening sky, with 4ll. of black Devanagari text on yellow above, upper left corner missing and with slight black stains, 24.1 x 15.2cm.

Provenance: Private Collection UK £600 - 800

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168 An illustration to a Ragamala painting, Kakubha Ragini, Malwa, Central India, circa 1670, opaque pigments on paper, depicting a lady holding garlands of flowers and surrounded by peacocks, a pavilion behind, two lines of black Devanagari above on a white ground, 20.5 x 18cm.

Provenance: Private Collection US Published: H. Munsterberg, “Arts of India and Southeast Asia”, 1970 £800 - 1,200 169 Portrait of a young prince, possibly Dara Shikho (1615-1659), India, 18th century, opaque pigments and pencil on paper, within floral gilt border, the nasta’liq quatrain to reverse with verses from Hafiz, signed ‘Abdullah Mishkin Qalam al-Husayni, mounted, glazed and framed, 22 x 13.5cm. £1,200 - 1,500 170 A portrait of a nobleman in green, Mughal India, 19th century, gouache on paper heightened with gilt, depicted standing with shield and sword, mounted on a gold-flecked orange album page, 41.5 x 27.5cm. £500 - 700

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171 A portrait of a Mughal nobleman, North India, early 18th century, pencil and opaque pigments on paper, depicted standing in profile, facing left, wearing a yellow sash with floral ends around his waist, a dagger tucked in his cummerbund and a large shield slung over his shoulder, laid down on composite coloured borders, painting 20.3 x 13cm.

Provenance: Property from the Karl and Elizabeth Katz Collection £1,000 - 1,500

172 Shah Sultan Husayn at Court, Mughal India, Circa 1710, opaque pigments heightened with gold and silver on paper, the ruler enthroned before a white pavilion, a black ink identification inscription in nasta’liq below, his courtiers and generals on either side, the reverse with silhouettes of birds, felines and deer against a pink-speckled background, each animal outlined with gold, with gold floral sprays and garlands outlined in black between, with gilt floral borders, mounted, painting 30.5 x 22.2cm.

171

This painting and the following lot are from a series illustrations to a poetical romance relating to the Mughal emperor Shah ‘Alam, also known as Bahadur Shah I (r. 1707-1712). It illustrates Sultan Husayn, the Shah of Persia (r.

1668-1726) seated in a pavilion in a large courtyard depicted in Mughal dress but with distinctive Safavid style facial hair and turban.

His courtiers are similarly dressed.

Other pages from this album all of which have similar gilt borders and stencilled silhouettes of animals on a pink speckled ground on the reverse were sold at Christie’s South Kensington 1 October 2012 Lots 16 and 132 and Sotheby’s New York 17 March 1988 Lots 326-329. Two of these folios, Lots 327 and 327 are in the Cleveland Museum of Art (inv. no.

2013.337). £2,000 - 3,000

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173 173 A battle scene, Mughal India, circa 1710, opaque pigments heightened with gold on paper, two opposing rulers mounted on their elephants overlook a melee, in floral margins, with gilt mounted borders with a lattice of large flower blooms, the reverse with silhouettes of birds, felines against a pink-speckled background each animal outlined in gold, with gold floral sprays and garlands outlined in black between, with gilt floral borders, painting 18.4 x 26.1cm.

Some of the figures in this painting are identified. For instance next to the ruler is an inscription in nasta’liq which reads ‘Muhammad Shah’, next to the rider of the rearing horse is the inscription ‘Bakhshi’ (an honorific Mughal military title).

Muhammad Shah appears to be in discussion with an army general who may be acting as go-between for his forces and the opposing army led by another Mughal prince, possible his half-brother Muhammed Kam Bakhsh whom he is know to have disliked bitterly. After the death of the Mughal Emperor Aurangzeb in 1707, there was a vicious struggle for the throne between all the brothers. Muhammad Azam Shah was defeated and killed during the Battle of Jaju on 8 June 1707 by his older half brother Bahadur Shah I. See the previous lot notes for other pages from this series sold at auction. £1,000 - 1,500

174 A study of flowers, Provincial Mughal, India, second half 18th century, drawing on paper, comprising irises, chrysanthemums and poppies, two with cusped arches above, orange margins, mounted, 25 x 11cm. £300 - 400

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176 175 A drawing of Guru Nanak Shah, Pahari school, India,18th century, drawing on paper heightened with gilt, depicting Nanak Shah seated by a fire under a tree with two disciples, within blue border, on gold flecked album page, mounted, glazed and framed, label to reverse, drawing 15.5cm x 10cm., Provenance: Quaritch Books 1980s £2,000 - 2,500 176 An illuminated page from an album, India, 16th century, each side with pen on ivory paper, 11ll. of elegant black nasta’liq, occasional words in red, mounted on pale green margins, recto with a simurgh flying in the forest and verso with large spiky flower heads, folio 29.5 x 20cm. £1,000 - 2,000 177 A standing portrait of a Rajput nobleman, Rajasthan in the Mughal style, India, late 18th century, gouache on paper, shown standing in a field of green grass with flowers, wearing armour, a bejeweled helmet, bazuband, and carrying a shield, sword, quiver, bow and arrows, within a delicately painted floral border, 13.8 x 22cm. £800 - 1,200

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178 A lady with a musical instrument under a stormy sky, Kangra, Punjab Hills, India, circa 1800, gouache on paper heightened with gilt, depicted wearing an orange sari standing on a terrace monsoon clouds and a flight of Sarus Cranes, painting 11.5 x 18cm. page 16 x 22.5cm £800 - 1,200

179 The religious leader Vallabha (d. 1532AD), founder of the Vallabhajarya Sect discoursing to his son and successor Vatthalnath and the latter’s seven sons and successors, Nathadwara, Rajasthan, circa 1870, gouache on paper heightened with gilt, 25.5 x 17.7cm. £1,000 - 1,500

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180 A portrait of Prince Zalim Singh, ascribed to Fazl, North India, Rajasthan, circa 1770, gouache heightened with gold on paper, the reverse with inscriptions in black, framed, 24 by 19.5cm.

Provenance: Christie’s London, 15 October 1996, lot 21.

The inscription says that the picture was a gift to a Raja and names the Artist as Fazl and the date as 1770 VS. Zalam Singh was the son of Bijay Singh. Upon the death of his father in 1793, the throne was taken over by Bijay’s grandson Bhim Singh and Zalam was forced to retire in Udaipur where he spent the rest of his life devoting himself to literature (R.Crill, Marwar Painting, 1999, p.109). £1,000 - 1,500 181 Ladies on a terrace, Kishangarh, India, circa 1780, black ink and opaque pigments on paper, depicting a lady seated on a chair on a terrace receiving a gift, with attendants behind, trees beyond a wall behind her, birds below her, mounted, glazed and framed, 28 x 19cm. £200 - 400

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182 Ladies worshipping, Rajasthan, India, circa 1780, opaque pigments on paper heightened with gilt, depicting a night scene, with a sadhu and ladies presenting offerings in gold vessels to a flower decorated shrine, mounted, glazed and framed, painting 18 x 14.5cm. £600 - 800

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183 A palace scene, Oudh, India, circa 1830, opaque pigments on paper heightened with gilt, depicting a prince offering wine to his lover who raises her cup, with two female attendants behind, and a large group of courtesans below, a garden of red flowers below them, mounted, glazed and framed, painting 25.2 x 15cm.

Provenance: Private Collection, Netherlands since 1976 ÂŁ200 - 300 184 A portrait of a horse, Mewer, North India, circa 1800, opaque pigments and gold on paper, depicting a richly adorned stallion, with red saddle cloth, its hair braided, led forward by an attendant, on a green ground with sky at top, red borders, the reverse inscribed in Devanagari, 31 x 30.5cm. ÂŁ400 - 600

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185 A couple smoking under a tree, Deccan, North India, circa 1750, black ink heightened with gold and silver on paper, shown seated against patterned cushions, richly dressed and with a huqqa pip before the lady, a floral carpet beneath them, remains of a library stamp above, within wide brown border outlined with gold, page 26 x 16.5cm. ÂŁ400 - 600

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186 186 A Sadhu and saints, Rajasthan, India, circa 1760, opaque pigments heightened with gilt on paper, shown seated on a tiger skin in front of his dwelling, in a lush landscape with water behind, three devotees before him, a pink sky behind, 20.3 x 13.5cm. ÂŁ400 - 600

187 A Prince and his mistress in their bedchamber attended by musicians, Provincial Mughal, 19th century, gouache on paper heightened with gilt, the couple shown lying on an array of cushions by the light of a candle, the Prince holding a huqqa pipe and his consort raising a cup of wine to his lips, with four female musicians below, the night sky visible through an open window and a pond with fountain and water lilies below, mounted, glazed and framed, 12.5 x 19cm.; and two other paintings including a copy of a Mughal painting of Inayat Khan, 20th century, and a painting of a reclining lady and her attendant, Rajasthan, 19th century (3) ÂŁ200 - 300

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188 A nobleman, perhaps Bhimnath, and an attendant riding a camel in a landscape, Jodhpur, India, circa 1820-30, opaque pigments on paper heightened with gilt, the camel finely painted stepping over a pool of water, a hunting dog at his feet, 31 x 24.5cm.

The text on the reverse reads: Sayabnathji maharaj, which probably refers to Bhimnath, the younger brother of Dev Nath, the guru of Maharaja Man Singh. £800 - 1,200

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189 An equestrian portrait of Rao Dudaji, ruler of Merta (1495-1525), Jodhpur, circa 1850, opaque pigments heightened with gilt on paper, inscribed to reverse “Rao Dudo Jodhawat Merta”, 34 x 25cm. £500 - 700

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190 A Mughal equestrian portrait of Maharaja Suraj Mal (1707-1763) and his horse Hurraj, Deccan, 18th century, pencil on paper heightened with opaque pigments, shown with a dagger at his waist and quiver attached to his saddle, a groom holding his bow at his feet, inscribed in black ink to reverse “Raja Soorajmull de Shakpoora et son cheval Hurraj 17th s.”, 22 x 16cm. £4,000 - 6,000

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191 Krishna swallowing the fire, Mandi, circa 1780, gouache on paper, surrounded by attendants covering their eyes from the fire and smoke and animals, 14.1 x 20.5cm.

Provenance: Christie’s 16 April 2010, Lot 619, Private Collection of Eva & Konrad Seitz £600 - 800

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192 A painting of Layla and Majnun, Jodhpur, mid 19th century, opaque pigments heightened with gilt, depicted in a lush landscape with a city to background, Layla shown seated, her skirt spread out around her, attendants behind, Majnun with an open book in one hand, a dog at his feet, 28 x21.5cm. £1,500 - 2,000 193 Rama and Sita, Pahari school, 19th century, gouache on paper heightened with gilt, shown standing within a temple arch, an array of silver vessels laid out before them, mounted, glazed and framed 28.2 x 20.5cm. £800 - 1,200 194 A group of winged angels bringing offerings to a sage, probably Murshidabad, India, late 19th century, gouache on paper heightened with gilt, mounted, glazed and framed, 19.5 x 12.5cm. £800 - 1,200

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195 195 An illustration to the Bhagavata Purana: Krishna Fighting the Demons Vatsasura and Bakasura, probably Jaipur, Rajasthan, 19th Century, opaque pigments heightened with gold on paper, depicting Krishna accompanied by his older brother Balarama battling the demon calf Vatsasura in the left panel and the demon crane Bakasura in the right panel, the gods showering them with blessings from the skies above, the figures with identifying inscriptions above, within narrow yellow borders, the wide red margins with text in black Devanagari script describing the scenes, framed, 23.3 x 33.5cm.

196 A princess and attendants bringing food to ascetics, Oudh circa 1900-1920, opaque pigments heightened with gilt on paper, a night sky with twinkling starts to background, a large leafy tree to right, 24.7 x 18.6cm. £400 - 600 197 Hanuman paying respect to Lord Rama, Jodhpur, India, circa 1870, opaque pigments on paper heightened with gilt, depicted, seated with his consort Sita, Lakshamana in the background, 20 x 14.6cm. £250 - 350

Provenance: Property from the Karl and Elizabeth Katz Collection £400 - 600

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198 A scene of a princess with attendants and musicians on a terrace, Oudh, circa 1810, gouache on paper heightened with gilt, the hills to the background lit by sunlight, within a floral gilt border, on an ochre album page, miniature 27 x 19cm., album page 41 x 29.7cm. ÂŁ800 - 1,200 199 A palace scene, Rajasthan, late19th century-early 20th century, gouache on paper heighted with gilt, a noblewoman shown in front of a fountain within expansive gardens attendants by ladies, cranes, a river scene behind and beyond a figure on horseback hunting, within red border, 37.6 x 36.5cm. ÂŁ300 - 400 200 The Holy Family, Punjab Hills, Mandi, circa 1780, opaque pigments on paper, depicting Siva dancing, his wife Parvati, sons and Kartikeya and Ganesha looking on, to one side his army and to the other musicians on the Kailas mountain in the Himalayas, mounted, glazed and framed, 24 x 20cm. ÂŁ500 - 700 198

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201 A Shi’a saint, Deccan, India, late 18th century, gouache and gold on paper, shown haloed, and standing wearing orange and green robes, holding shield and sword, on a blue ground, with Persian nasta’liq inscription in white above, glazed and framed, painting 35 x 21.5cm.

Inscription: tasvir-i imam-i davazadahum imam muhammad mahdi sahib al-‘asr wa’l-zaman ‘alayhi al-salam “Painting of the 12th Imam, Imam Muhammad Mahdi, Lord of the Age and Time, peace be upon him.” £300 - 500 202 Krishna visiting Radha in early morning, Kangra school, India, circa 1830, gouache on paper heightened with gilt, shown seated in a pavilion on a floral carpet, a green landscape with hill and the rising sun, mounted, miniature 25 x 20cm. £500 - 700 203 Lord Ganesha flanked by his consorts Riddhi and Siddhi, Jodhpur, India, circa 1880, opaque pigments on paper heightened with gilt, seated against a cushion on a lotus throne beneath a cusped arch with flowers to spandrels, 21 x 16.5cm. £200 - 300

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204 204 The Hindu Gods and Goddesses, Rajasthan, 19th century, opaque pigments on paper heightened with gilt, depicting Lord Ganesha with his mount the mouse, Lord Shiva with Nandi, Parvati the tiger, and kartikeya the peacock, below Krishna and Radha with cows and Durga, to foreground, Lord Surya, the Sun God, riding his seven-horse chariot and Hanuman carrying a mountain with medicinal plants for curing Lakshmana wounded in the battle with Ravana, 11.5 x 15.4cm. £200 - 300

205 205 A prince on horseback approaches a holy man, Pahari school, India, early 20th century, gouache on paper, with 3 lines of black devangari text to border above, page 25.7 x 18cm £600 - 800

206 206 A seated Gosain (Holy man) of the Vallabhalarya sect of Vaishnavite Hindus, Nathadwara, Rajasthan circa 1860, gouache on paper, depicted holding a rosary inside a Gomukhi, 17 x 13.3cm. £600 - 800

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207 The Coronation of Lord Rama, a scene from the Ramayana, Rajasthan, 19th century, opaque pigments on paper heightened with gilt, depicting Rama anointed as king by sage Vasistha, with Sita enthroned beside him, the Gods and goddesses paying their respects, 24.5 x 16.7cm. ÂŁ300 - 400

208 Shoeing the horse, Rajasthan, 19th century, opaque pigments heightened with gilt, one groom shown holding the reigns of the horse at the neck, the two below holding the leg of the horse in a braided rope and fitting a shoe, the horse wearing an elaborate saddle, framed, painting 12.5 x 15.5cm.

This a copy of the Mughal painting by Salim Quli of the same subject painted in 1605-15 and also an earlier version painted by Ikhlas. The artist has replicated the stance of the men and horse and the tools below ÂŁ100 - 200

209 The Emperor Aurangzeb boating on a lake, Rajasthan, India, 19th century, opaque pigments heightened in gilt on paper, India, the emperor depicted reading under a parasol, with attendants behind, oarsmen steering the elaborately painted boat away from the city towards a green landscape, mounted, glazed and framed, 32 x 21cm. .

Another painting of the same subject is in the collection of the Museum of Calcutta.

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Provenance: Private Collection, France; Vente Ricqles, 7 April 1998, lot 269 ÂŁ1,000 - 1,500

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210 210 Krishna and Radha celebrating the festival of Holi, Oudh, circa 1860, gouache on paper heightened with gilt, and a fragmentary scene in a temple, Nathwadara, circa 1850, 40.5 x 29.5cm. and 32.5 x 27cm. (2) £50 - 100

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211 A ruler before his courtiers, Mewar, India, 19th century, shown enthroned in an outdoor pavilion, stylized clouds in the sky above, a leafy green garden behind the wall, glazed and framed, 37.2 x 27.5cm.

212 A portrait of a princess reading, probably Mewar, Rajasthan, dated circa 1858VS (180102AD) , opaque pigments on paper, the nimbate princess in European dress depicted reading by a window decorated with a floral textile, painted in an oval format, the reverse with inscription comprising three lines of black Devanagari script including date ‘najar Diwali ri kaam uste(?) … samvat 1858… shudi…’ (presented on the occasion of Diwali the work of …. Samvat 1858 (circa 1801-02 AD) …) 13.5 x 9.2cm.

Provenance: Purchased at Sotheby’s in the 1980s £400 - 600

Provenance: Property from the Karl and Elizabeth Katz Collection £400 - 600

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213 A ruler seated, Jodhpur, India, 19th century, gouache on paper heightened with gilt, with two attendants behind him and a nobleman before him, shown seated cross-legged on a carpet, with floral carpet beneath his feet, 36 x 27cm. £500 - 700

215 An illustration to a scene from a Ragamala, Oudh, India, late 19th century, opaque pigments heightened with gilt on paper, depicting a lady and her lover in a bedchamber, within a white pavilion, a darkening sky behind, mounted, 29 x 20.5cm.

214 An erotic embrace, Udaipur, North India, 19th century, opaque pigments heightened with gilt on paper, depicted against a green cushion with striped orange cloth, outside a pavilion with floral patterned canopy, foliage behind, within a red border, 15.6 x 21.2cm. £400 - 600

Provenance: Private Collection UK £300 - 500 216 An erotic archery scene, Rajasthan, 19th century, opaque pigments heightened with gold on paper, the couple embracing on a terrace under a starry sky, the archer raising his bow to the sky at a bird flying overhead, within red border, 20.7 x 14.7cm.

Provenance: Private Collection UK £400 - 600

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217 A group of ten erotic paintings, Rajasthan and Jodhpur, 18th-19th century, opaque pigments on paper, one in a gilded wood shrine (10) ÂŁ2,000 - 3,000

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218 218 An Indian hardwood chair, in the Charles II style, 19th century, with bird form finials, the back of pierced trailing floral and leaf design, flanked by twisted turned uprights, with caned back and seat, the downward sweeping arms with acanthus leaf decoration on forming twist legs joined by stretchers, 126cm high £200 - 300 219 A cased set of decanters and glasses for the Indian market, Europe, early 19th Century, comprising six clear glass bottles of rectangular form with domed shoulders decorated with gilt foliate and floral motifs with gilt glass stoppers, two bottles with old labels to underside, two stemmed glasses and octagonal tray with similar gilt decoration, fitted into customised wood box with velvet-lined interior and domed hinged lid, two carrying handles to sides the case 27 x 26 x 21.5cm (10) £1,500 - 2,000

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219 220 A silver sugar bowl with the monogram “MM” and stamped to the bottom “OM” (Oomersee Mawji), India, circa 1880, of oval form, with raised square handles, decorated to body with spiky leaf, carnation design, 9cm. high x 17cm. diam.

Weight: 268 grams £200 - 300 221 An Indian three piece silver tea service, Kutch, late 19th century, of globular form, the lids with elephant finial, profusely moulded with trailing foliage with shaped vacant armorial cartouches, on pad feet, comprising a tea pot, sugar basin and jug, the tea pot 13.5cm high (3) £300 - 400

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222 A bidri vase, Deccan, India, early 20th century, on a short foot with wide base narrowing towards a slender neck with ring below flaring mouth, decorated to body with large pear-shapes containing a lattice design, above a band of flowers, the neck with ovals containing lattice, 22cm. high £100 - 200 223 An engraved silver huqqa base, India, 20th century, of globular form with slightly flared neck, deeply carved with dense design of architecture, palm trees and birds to body, repeating design of birds to shoulder, architectural scenes to neck, 20cm. high £300 - 400

224 225 A silver lidded tazza, India, 19th-20th century, of typical form, on a raised foot with domed lid, knop finial, the foot and body decorated with repousse design of flowers and vines, the openwork lid with similar, the finial with repeated leaves, 20.5cm. high Weight: 979 grams £300 - 500

224 A bidri silver-inlaid bottle (surahi), Deccan, North India, circa 1880, with rounded body, the long slightly flaring neck with a raised ring at bottom, with rounded lip, the inlaid decoration with confronted fish and leaves to body, diagonal bands of flowers to neck, 29cm. high A silver bidri plate with closely related decoration of emblematic paired Lucknow fish, possibly from the same workshop, is published in India’s Fabled City: The Art of Courtly Lucknow, exhibition catalogue, Los Angeles, 2010, cat. no. 180, p. 219. See cat 181 for an identical vessel to this but with gold bidri. £300 - 500 225

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226 A repousse decorated silver lota, India, 20th century, of squat form, the base flat, with high shoulder narrow neck and wide everted rim folded over, decorated to exterior with dense design of lobed cartouches filled with dense design of flowers and leaves on a ground of flowers and leaves, 24.5cm. high

228 A matching silver casket, heart-shaped box and spittoon, Kashmir, 20th century, the casket on four feet and opening to reveal two side panels each with three small containers, and two square lidded containers with spoons. all decorated to exterior with dense boteh pattern, casket 22 x 14cm. x 10cm. high, heart 13cm., spittoon 13.9cm.high (3)

Weight:1192 grams £300 - 500

Weight: casket 1131 grams, heart 330 grams, spittoon 220 grams £300 - 500

227 An openwork silver bowl, India, 20th century, on a slightly splayed foot, the body openwork with flowers and vines, below a band of repeating stylized leaves, 19cm. diam. x 11cm. high.

Weight: 690 grams £100 - 200

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229 A repousse work silver bowl by A. Bhicajee & co, Bombay, circa 1910, on a short splayed foot, the upper part of the bowl finely worked with scenes of a hunt in the jungle, the canopy of the trees forming the rim of the bowl, 23cm. diam.,14 oz.

231 Two small copper lotas, South India, early 19th century, of globular form with flared neck, each with a series of deities within cusped arches to body, 11.6cm. high (2) £200 - 300

Bhicajees & Co. was a retailer and perhaps maker of colonial Indian silver in Bombay in the first part of the twentieth century. Almost certainly, the firm was owned and managed by a Bombay Parsee (or Parsi) family. Most of India’s Parsees were concentrated in Bombay and Bhicajee is a Parsee family name. Items of colonial Indian silver with the Bhicajees name are not that common but do tend to be characterised by their fine chasing work and casting. £600 - 800

232 A pair of Koftgari rosewater sprinklers, India, circa 1870, of globular form, with slender neck tapering slightly towards a ringed mouth and open top, profusely decorated with scrolling vines, cloud motifs, concentric circles and swirls, 18cm. high (2) £800 - 1,200

230 A silver openwork tray in the style of O.M.Bhuj, Kutch, Northwest India, late 19th century, of elongated octagonal form, the frame formed of bamboo shoots, the central panel decorated in repousse with a scene of lions at a watering hole, surrounded by a scrolling vine with flower heads, a similar design in openwork to sides, 29 x 19cm. £500 - 700

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233 A silver inlaid footed copper vase, Tanjore, 19th century, on a stepped domed base, inlaid with floral and vines and flowers within columns, 26cm. high. ÂŁ1,000 - 1,500 234 A silver repousse copper box, Tanjore, 19th century, of rectangular form, on four claw feet, the copper base decorated to lid with a repousse scene of Krishna, Ganesha, and attendants, surrounded by flower heads, and studs with further bands of stylized flowers, to sides a series of alternating elaborate columns and deities, the interior and base with original red cloth, 25.5cm diam x 19.2cm. deep x 10cm. high ÂŁ600 - 800 235 A figural engraved South Indian bronze vase, 18th-19th century, on a circular splayed foot, with rounded body, the neck rising in tiers to a wide mouth, the fitted lid with bud finial, engraved to body with running animals including an elephant, peacock, snake and tiger, the lower section with repeating band of scrolling buds, fish scale motif to the neck, 30cm. high Provenance: Private collection A.H. Morton (19422011), Bonhams 26 April, 2013, lot 143 ÂŁ300 - 400

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236 Three reverse painted glass pictures, to include one of Vishnu flanked by elephants, Tanjore, South India, late 19th-early 20th century, framed (3) £300 - 500 237 A portrait of a prince, South India, midlate 19th century, opaque pigments on paper heightened with gold, shown enthroned, wearing elaborate jewellery, within a pavilion, lighting behind, inscription below mounted, glazed and framed, 29 x 22..5cm. £300 - 400 238 A Tanjore-style painting of a lady, South India, 20th century, opaque pigments heightened with gilt on card, shown holding a sitar, wearing elaborate red and gold jama and sari and wearing gem-set gold jewellery, trees in the background and grass at her feet, 24.5 x 11.5cm. £300 - 400 239 A Brahmin and his wife, from a Company School series on castes and trades, Tanjore, circa 1840-50, gouache on paper, shown wearing traditional dress, mounted, 29.2 x 20.4cm. £800 - 1,200

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240 A Tanjore reverse glass painting of the baby Krishna, South India, late 19th-early 20th century, reverse glass painting with applied foil and glass elements, in original gilded wood frame, 72 x 56cm.

Provenance: Private Collection Australia £600 - 800 241 J. Chapman (fl. 1792-1823) Three illustrations from a series on trades of India, London, 1809, printed ink and handcoloured, comprising “An Omrah of State; a Dancing girl; and a Lad of the Harem; all belonging to the Palace of Delhi,”; “Aboriginies of Hindoostan, on the Coromandel Coast 2. A Piadah or Poon retained in great Families”; “A Smoking Party in the Province of Bengal”, each mounted glazed and in matching frames, image 24.5 x 20cm. (3) These illustrations were printed in the ‘Encyclopaedia Londinensis, or, Universal Dictionary of Arts, Sciences, and Literature’ published in London, 1810-1829 £80 - 120

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242 A group of paintings from an album of Hindu deities, South India, Tanjore, circa 1850, opaque pigments on mica, comprising 12 oval paintings depicting various Hindu gods and goddesses and their different avatars, laid on rectangular card, each illustration bearing an English inscription in black ink below identifying the deity, painting 14 x 11.5cm., card 20.6 x 14cm. (12) A very similar although larger group of paintings was sold at Christies The Collection of Paul F. Walter Online auction 21 - 28 September 2017, Lot 657 £800 - 1,200

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243 A carved Bombay wood box, India, 19th century, of rectangular form, carved to the lid with a design of flowerheads in an interlacing design, with crescent shape either side, the sides with a lattice design, 31.5cm. diam. x 11cm. deep x 10cm. high £200 - 300

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246 244 A Katamkari box, early 20th century, of rectangular form, with rectangular panels to lid and body containing geometric shapes, borders of lozenges, painted simulated ivory detail to edges, 25.5cm x 10cm. x 6.4cm. £100 - 200 245 A carved Bombay black wood box with painted ivories, India, circa 1880, of rectangular form, the lid and sides with carved panels comprising a dense design of flowers, leaves and running animals within a Katamkari border, the lid set with three miniature paintings on ivory of the Taj Mahal, Kandahari Begum and Mumtaz Mahal, the wives of Shah Jahan, 28.5cm x 12cm. x 6cm. high £300 - 400 246 A beaded decorative cotton banner, Bhuj, Gujarat, early 20th century, the top edge straight and the bottom crenelated, with red, blue and green bead flowers and confronted parrots on a white ground, stitched onto the red cotton ground, a band of purple diamonds on green above, approx. 460cm. long £300 - 500

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247 247 A small bead chaupad board with 16 Belgian gilded glass gaming pieces and two ivory dice, Jasdan or Saurashtra, North West India, 19th/20th century, dice 3.6cm. long; gaming piece 1.2cm. high (17) £150 - 250

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248 A lacquered wood Ganjifa box and cards, South India, mid-19th century, of rectangular form, painted to lid with a palace scene in registers, with two enthroned rulers with attendants, the reverse of lid with 19th century inscription “May 31 / 64 77 cards”, the sides of the box decorated with processional scenes of soldiers, elephant and equestrian figures, with 68 circular Ganjifa cards painted and gilded, 16.5cm x 7.2cm. deep x 7cm. high £300 - 400 249 A couple playing chaupar and a couple playing chess, Rajasthan, India, 20th century, opaque pigments on paper heightened with gilt, each depicted in a richly decorated interior scene before an open window looking out onto a landscape, the couple playing chaupar seated on the floor against bolster cushions, and the couple playing chess seated in chairs, each 24 x 31.7cm. (2) £150 - 250

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250 A scene of a husband quarrelling with his second wife, Bengal, late 19th-early 20th century, opaque pigments heightened with gilt on paper, the husband shown with raised hand banishing his wife who cowers on the floor, in a richly decorated interior, 16 x 12cm.

Provenance: Private Collection UK £100 - 150 251 A group of books of Indian Art interest, including A. Sharma, A Bibliography of Mughal India (1506-1707AD), Porcupine Press, 1938; A. Relia, The Indian Portrait A Photographic evolution from documentation to posterity, Vols VI VII, VIII exhibition catalogue, Ahmedabad, 2015; Dr H. Patel, Royal Families and Palaces of Gujerat, Windsor & Peacock, 1998; M. Sarup, Excavations at Harappa, Vol I text and Vol II plates, Government of India Press, Calcutta, 1940; A Catalogue of Arabic and Persian Medical Manuscripts, Institute of History of Medicine and Medical Research, Tughlaqabad, New Delhi, Delhi Press, 1955 (22) £100 - 200

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252 A group of mainly Bonham’s, Christie’s and Sotheby’s auction catalogues, including Islamic and Indian Arts, Antiquities (61) £80 - 120 253 A group of 37 books on Islamic and Indian art, including Y.H. Safadi, Islamic Calligraphy, Thames & Hudson, London, 1978; Anthony Welch, Shah ‘Abbas and the Arts of Isfahan, The Asia Society, 1973; J. Mercier, Ethiopian Magic Scrolls, George Brazilier, New York, 1979; Paintings from the Muslim Courts of India, Exhibition catalogue, Prints and Drawings Gallery, British Museum, World of Islamic Festival, 1976; Pramod Chandra, The Tuti-Nama of The Cleveland Museum of Art, Graz, Austria, 1976; W.E. Soloman, Masterpieces of Mogul Art. Essays on Miniature Painting and Architecture under the Moguls, Oxford University Press, 1932 (37) £80 - 120

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254 A Company School painting on ivory of the Moti Masjid, Agra, circa 1860, opaque pigments heightened with gilt on ivory, of oval form, in original fitted case, cracked and with stains, 23cm. diam.

Provenance: Private Collection UK £300 - 400 255 Two Company School architectural views on ivory of the Taj Mahal, North India, circa 1850, gouache on ivory, glazed and framed, 18cm. diam. and 15.7cm. diam (2) £400 - 600 256 A framed miniature painting on ivory of a nobleman, India, 19th century, three-quarters portrait, the richly adorned figure wears a furtrimmed robe, pearls and gems, against a blue ground, in a 19th century wood and metal frame, portrait 7 x 5cm. £200 - 300

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255 257 A portrait of Mumtaz Mahal (15931631AD), wife of Shah Jahan, Delhi school, 19th century, painted on an oval ivory plaque, set within an carved ebony frame, frame 19 x 12.2cm. £100 - 200

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258 258 A group of ten Company School paintings of monuments of India, India, circa 1880, opaque pigments on paper, mounted together, glazed and framed, each painting 10.5 x 8cm. overall 70.5 x 31cm. £1,500 - 2,000

259 259 A group of six Company School paintings of architectural scenes, India, circa 1880, gouache on paper, each 10.5 x 8cm., overall 46 x 28cm. £1,200 - 1,500

260 A view of Calcutta, circa 1840, watercolour on paper, border trimmed, identifying pencil inscription to reverse, 42 x 22.2cm. £300 - 400

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261 261 A Company School watercolour of a Tragopan pheasant, circa 1820, opaque pigments on laid paper, depicted in a landscape, with trimmed borders, in mount, 26.7 x 40.2cm.

Another depiction of the Tragopan pheasant is in the Impey Album, attributed to Shaykh Zayn Al-Din, Calcutta, India, circa 1777-82.

The eighteenth and nineteenth century India witnessed a new genre of painting popularly known as ‘Company School’. It was so named because it emerged primarily under the patronage of the British East India Company. The officials of the Company were interested in paintings that could capture the “picturesque” and the “exotic” aspect of the land, besides recording the variety in the Indian way of life which they encountered. Indian artists of that time, with declining traditional patronage, fulfilled the growing demand for paintings of flora and fauna, landscapes, historical monuments, durbar scenes, images of native rulers, trades and occupations, festivals, ceremonies, dance, music as well as portraits.

This style of painting arose in a number of different cities. Work from each region is distinguishable by style, which grew out of and was heavily influenced by earlier local traditions. Calcutta was among the important early production centres, as the site of one of the oldest British trade houses. The city’s most enthusiastic patrons were Lord Impey, chief justice of the High Court from 1777 to 1783, and the Marquess Wellesley, who served as governor-general from 1798 to 1805. Both had collected large menageries and hired artists to paint each of the birds and animals in them. A Company-established botanical garden in Calcutta then undertook a similar project for the samples of plant life it had collected. Other influential painting centres were in Varanasi, a major Hindu pilgrimage site that drew many tourists (who knew it as Benares), and Madras, where Lord and Lady Clive were stationed from 1798 to 1804. Delhi’s market expanded after the city’s occupation by the British in 1803. Its magnificent Mughal monuments were the most popular subjects, and its artists were unique in using ivory as a base for painting. Other common subjects from this time were the residences, servants, carriages, horses, and other possessions that Company employees had amassed; Lady Impey was the patron of a number of such scenes. £12,000 - 15,000

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262 A portrait of a Sikh nobleman on horseback, Punjab hills, 19th century, gouache on paper heightened with gilt, with line of Devangari text above in gilt, the ruler depicted with a nimbus above, his horse wearing elaborate trappings, painting 31.5 x 23.5cm. £700 - 900 263 A Sikh portrait on ivory of Maharaja Sher Singh (1807-1843), North India, circa 1850, gouache on ivory, mounted in a silver and seed pearl pendant, 4.2cm. diam. £300 - 400 264 A Sikh portrait on ivory of Maharaja Kharack Singh (18011840), North India, circa 1850, gouache on ivory, 5.7cm. high £250 - 350 265 A Sikh portrait on ivory of Maharaja Ranjit Singh (1780-1839), North India, circa 1850, gouache on ivory, under glass, 6cm. high £350 - 550 262

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266 A Sikh portrait on ivory of a maharaja with sword, North India, circa 1850, gouache on ivory, mounted in a brass oval with suspension loop, 7.2cm. high £150 - 250 267 A Sikh ivory of the Golden Temple at Amritsar, North India, circa 1860, gouache on ivory, in velvet frame, ivory 7cm. diam. £200 - 350 268 Three Sikh Phulkaris, Punjab, India, early 20th century, each of rectangular form, the cotton ground embroidered in counted stitch with geometric patterning, 230 x 134cm. 122 x 240cm. and 230 x 132cm. (3) £300 - 500

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269 269 Two Sikh silk bagh Phulkaris, Punjab, India, 20th century, each of rectangular form, the cotton ground embroidered in counted stitch with geometric patterning, the first in shades of cream and ochre within a brown diamond lattice, and the second with rectangular panels of ochre silk diamonds, 139 x 225cm. and 123 x 247cm. (2) For similar examples see S. Stronge, Arts of the Sikh Kingdoms, London, 1999, p. 132-33 ÂŁ300 - 500

270 A Sikh embroidery on silk depicting Guru Nanek, Punjab, India, 19th century, of square form, the central panel depicting Guru Nanek and his companions Bhai Mardana and Balla in silk and gold embroidered thread with embroidered flowers above on a red silk ground, to borders floral embroidery on an ochre silk ground and the corners with further flowers on a purple silk ground, 110 x 106cm.

Guru Nanak was the founder of Sikhism and the first of the ten Sikh Gurus. His birth is celebrated worldwide as Guru Nanak Gurpurab on Kartik Pooranmashi, the full-moon day in the month of Katak, October-November. ÂŁ300 - 400 270

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271 A group of ten Sikh portraits on ivory of Sikh Gurus and two of regimental Sikh banners flanking Guru Nanak, mounted in a carved sandlewood frame, and belonging to the 11th Sikh Regiment of the British Indian Army, carried into battle in the WWII Burma Campaigns, North India, circa 1890, opaque pigments on ivory, each portrait with identifying inscription above, glazed and within a silver frame, frame 37.2 x 23.6cm.

Provenance: The 1st Kings 5th own 11th Sikh Regiment of the Indian Army; given to Captain Eric Richards and thence by descent Captain Eric Richards served as a captain in the 11th Sikh Regiment in the Burma (now Myanmar) campaigns of World War II. He described and considered the Sikh soldiers as his brothers. He learnt the Sikh traditions and language. His life was infact saved in an action against the Japanese by his Sikh bodyguard. He was particularly proud he served alongside Nanda Singh VC and was present at an engagement that made Nanda Singh one of the most famous Sikh soldiers in WW2. Nanda Singh went on to be awarded the Victoria Cross.

The 11th Sikh Regiment The 11th Sikh Regiment were an infantry regiment of British Indian Army. They could trace their origins to 1922, when after World War I the Indian government reformed the army moving from single battalion regiments to multi battalion regiments. The regiment was formed from the: £1st Battalion - 14th King George’s own Ferozepore Sikhs £2nd Battalion - 15th Ludhiana Sikhs £3rd Battalion- 45th Rattray’s Sikhs £4th Battalion- 36th Sikhs £5th Battalion - 47th Sikhs £10th Training Battalion - 35th Sikhs The regiment was allocated to the new Indian Army on independence and became the Sikh Regiment.

Symbols of Faith in battle.

The present plaque which features images of the Gurus and Guru Granth Sahib in particular played a central role in the life of a Sikh Soldier in the British Army. The symbols of faith accompanied the Regiments abroad, in adverse conditions and on the front-line. It would lead troops in battle. Throughout the soldiers life, the Guru Granth Sahib in particular was ever present. £20,000 - 30,000

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272 An ivory figure of a Sikh soldier, India, 19th century, on a rectangular ivory base, mounted on a wood base, the figure carved in the round wearing an Akali turban, and carrying a shield on his back, one foot deficient, 12cm. high The form and symbolism of the Akali turban (bunga dastar) originate in ancient Indian mythology. The shape is a shrine of the seventh and highest energy centre in the body. A real turban would be tied in two stages, starting with the farla or underturban, which signifies high rank among the Akalis. The weaponry on the turban includes a central ornament of crescents - a symbol of the Hindu God Shiva - surrounded by gold-overlaid throwing quoits (chakkar or chakra). The chakkar symbolises the cyclical nature of life and is repeatedly used in Sikh symbolism. £800 - 1,200 273 A Company School silver and ivory bracelet with portraits of rulers, India, circa 1860, with four miniature portraits of Sikh rulers, Ranjit Singh with identifying inscription to reverse, 15cm. long £300 - 500 274 Two Sikh documents relating to land grants from the court of Maharja Ranjit Singh (1780-1839) with Royal seals of Ranjit Singh and his son Maharaja Kharack Singh (1801-1840), India, 19th century, Persian manuscript on paper, 23.5 x 14.2cm and 20.2 x 14cm. (2) £500 - 800 272

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275 A group of maps and prints relating to the Punjab, 19th century, comprising a map of the Bhawulpore State published for the Royal Geographical Society, London 1872; a map of Hindoostan by Arrowsmith, 1805; a print featuring the Sikh Yard Battery and The Nobut Khana Gateway; another featuring the rear view of the residency from the churchyard and the Seikh Yard Breach; and another entitles Poormandal Male or Festival drawn by the Hon. Charles Harding, (5) £150 - 250

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276 276 A Sikh biography of Guru Gobind Singh, Punjab, 19th century, manuscript on paper, 244ff., with 11ll. of black ghurmukhi script per page within yellow border, some words highlighted in red, one illustration, in modern brown binding, folio 13.5 x 20.5cm.

Guru Gobind Singh (1666-1708), born Gobind Rai, was the tenth Sikh Guru, a spiritual master, warrior, poet and philosopher. When his father, Guru Tegh Bahadur, was beheaded for refusing to convert to Islam, Guru Gobind Singh was formally installed as the leader of the Sikhs at age nine, becoming the tenth Sikh Guru.

His four sons died during his lifetime - two in battle, two executed by the Mughal army.

Among his notable contributions to Sikhism are founding the Sikh warrior community called Khalsa in 1699 and introducing the Five Ks, the five articles of faith that Khalsa Sikhs wear at all times. Guru Gobind Singh also continued the formalisation of the religion, wrote important Sikh texts, and enshrined the scripture the Guru Granth Sahib as Sikhism’s eternal Guru. £4,000 - 6,000

277 An unusual lithograph copy of the Janamsakhi, the life of Guru Nanak, North India, mid-19th century, lithograph, 298ff., two fullpage illustrations, numerous smaller illustrations interspersed throughout text, board covers, folio 31.5 x 24cm.

Note: The Janamsakhis (literally, ‘life stories’) were first compiled in the 17th Century, in various different versions. They consist of collections of anecdotes or tales (sakhi), not always in any particular order, and also include quotations from the Adi Granth as well as other apocryphal sayings of the Guru.

For a discussion of Janamsakhis in general, see C. Shackle, Catalogue of the Panjabi and Sindhi Manuscripts in the India Office Library, London 1977, pp. 19-23. £1,500 - 2,000

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280 278 A portrait of Nawab Wajid Ali Shah, the last Nawab of Oudh, Lucknow, circa 1850, opaque pigments on paper, full-length, holding a sword, with identifying inscription in Persian, laid on card, painting 14 x 9.5cm. £800 - 900 279 A Company School portrait of a lady, India, circa 1880, opaque pigments heightened with gilt on paper, shown seated and holding a gem-set fan, her dark green skirt matching the curtains behind, a delicate green embroidered white shawl around her head, wearing elaborate pearl and emerald-set gold jewellery, her dark hair in loose curls, seated against a dark purple cushion, 18.5 x 13.5cm. £600 - 800

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280 A fine balsa-wood model of Krishna and Radha and two attendants, India, 19th century, shown standing elaborately dressed with flowers and jewellery within a pavilion, in a glass-fronted box, 51cm high x 14.4 deep x 40.2cm. £200 - 300 281 An ivory plaque of Krishna and Garuda, India, 19th century, of slightly curved form, Garuda depicted clutching a serpent in his claws and with outstretched wings, on a tiered wood base, plaque 13cm. high £300 - 500 282 A painted ivory lidded box, Sri Lanka, 19th century, of round form, with fitted lid, painted to lid with a sunburst design to centre and concentric bands of dots, semi-circles and petals, the sides and base similarly decorated, plain to interior, 8.5cm. diam. £200 - 250

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283 A Mughal jade tray with central silver knop, early 20th century, the round tray with everted sides, the knop faceted, 10.5cm. high £300 - 500 284 A painted plaster model of a tiger, India, early 20th century, on a rectangular oak base, shown creeping forward, ears back and with open mouth, the eyes glass-set, the long tail slightly curled and raised, 33cm. diam x 14cm. deep x 15.5cm. high £200 - 300 285 A painted plaster model of a water buffalo, India, early 20th century, on a rectangular oak base, shown stepping forward one foot raised with outstretched neck, head curved slightly to the right, 33cm. diam x 15cm. deep x 21cm. high £200 - 300

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286 Six monochrome photographs of Indians and Indian architecture, India, 19th century, mounted, glazed and framed (6) ÂŁ150 - 200

286 287 Four botanical specimen paintings, Company School, Calcutta, 19th century, watercolour on paper, comprising the Daphne Papyracea, Sonchus Wightianus, Lonicera and one other, one inscribed to bottom left The Gold and Silver Honey suckle to bottom left, mounted, glazed and framed, two pictures 57 x 29cm, two others 35 x 28cm (4) Daphne Papyracea: This evergreen plant is indigenous to Northern India and Nepal and is commonly known as the Indian Paper Plant or the Nepali Paper Plant. It can grow up to 2m tall and its flowers bloom from November to April. They are fragrant, small and white and grow in clusters. As its name suggests, its inner bark is used to produce local, hand-made paper in Nepal, using traditional techniques.

Sonchus Wightianus: The Sonchus or the Wights Sow Thistle is a weed commonly found in the Indian Subcontinent near fields, meadows, forests and near bodies of water. It has round, yellow flowers, like dandelions, that blossom from June to September. Its leaves have prickly edges and pointed lobes. Its seeds are encased in a soft, round ball of white hair that protects them and transports them either through strong winds or water. This plant has healing qualities and can be applied to soothe wounds and burns. It is also used to treat jaundice, fever, coughs and bronchitis. Extract from its roots are used to treat stomach pain.

Lonicera (Honeysuckle): The Lonicera climber or Honeysuckle, is found abundantly all over the Indian Subcontinent. There are more than 20 species found all over India. This is an evergreen shrub that bears flowers all year round. It can grow up to 10 m tall and is popular due to its sweetly fragranced flowers and edible nectar. The flowers turn from white to yellow as they age. The stems and flowers of this shrub are used to fight respiratory tract infections, including pneumonia and dysentery. They are also used to heal skin diseases, tumors and colds. ÂŁ800 - 1,200

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288 Sardar Ganda Thakar Singh (1899-1976), Two Botanical Studies, ‘Magnolia Stellatta Maxim” and “Bauhinia variegata Linn”, 1955, watercolour on paper, both signed and dated lower left, mounted, glazed and framed, 40.5cm. x 30cm. (2) This and the following lot form part of a collection of botanical watercolours originally in the collection of the Maharajah of Patiala. Of great diversity, these charming drawings were made by Thakur Ganga Singh between 1942-1962. They are especially fascinating in that they continue a notable tradition of flower 288 painting which dates back at least as far as 1620 when the Mogul ruler Jahangir commissioned a detailed study of the botany which so delighted him on visiting Kashmir in springtime. The emperor and his local artists were greatly influenced by European herbals and woodcut illustrations of the time and these led to a certain formality and accuracy in Indian botanical representation alongside the already established naturalistic observation of plants that had come to India from Persia.

From this time onwards, flower ornament became a central feature of Indian decoration: in architecture, carpets, other textiles and thus also in Indian miniatures and book decoration.

These botanical drawings are in a delightfully free style but nonetheless continue the tradition in combining elegant decoration with botanical accuracy. The studies were commissioned by His Highness Maharajah Yadhavindra Singh of Patiala, also a keen botanist, who from the 1920’s began to collect the flora of the Simla Hills with the intention of writing a book on the subject.

Ganga Singh was engaged by the Maharajah in 1942 to reproduce his collected flora in watercolour drawings. He became a permanent member of His Highness’ staff and painted over 400 watercolours over a period of twenty years. Singh died in 1971, followed in 1972 by the Maharajah who was not able to complete his book although the research and the paintings were complete. His son, the present Maharajah, took over the task and has recently completed the work of cataloguing the collection in preparation for the publication of the book in the future.

Ganga Singh began his career as an artist at the Forest Research Institute in Dehra Dun, travelling to England in 1931 to train at the Slade in London. Later in life he was awarded the title of ‘Rai Sahib’ for his outstanding contributions in the field of fine arts £250 - 450

289 Sardar Ganda Thakar Singh (1899-1976), Two Botanical Studies, 1944, “Magnolia stellata Maxim” and Cassia fistula Linn”, signed and dated lower left, mounted, 45 x 35cm. (2) See previous lot for further information £250 - 450

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290 Walter Jenks Morgan (1847-1924), The Taj Mahal, watercolour on paper, mounted on card, 35 x 24.5cm.

Provenance: Private Collection UK Walter Jenks Morgan (1847-1924) was an illustrator and genre painter. Born at Bilston, and educated at Sir Robert Peel’s School, Tamworth, Morgan moved to Birmingham and became apprenticed to a lithographer. He studied at the Birmingham School of Art and the Birmingham Society of Artists and produced illustrations for several magazines, including The Graphic and Illustrated London News. He exhibited widely, including at the Royal Academy, the New Watercolour Society and the Royal Society of British Artists, and he became President of both the Birmingham Art Circle and the Midlands Art Club. £80 - 120 291 Two Kalighat paintings, Eastern India, circa 1880, opaque pigments and silver on paper, depicting Krishna and Radha, each mounted, glazed and framed, painting 26.8 x 24cm. (2) £600 - 800

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292 292 A pair of gilded white sheet metal cuff bracelets, Indonesia, late 19th/early 20th century, of hollow form, with filigree wire decoration, and stamped and engraved detail, with red paste stones in raised settings, 13cm. diam, opening 6.5cm. wide (2) Provenance: Bonhams, 24 April 2002, Lot 645 ÂŁ1,200 - 1,400 293 A silver cuff bracelet with warrior, Myanmar, early 20th century, the band widening to centre and carved to face with a figure with elaborate hair style, large leaves either side, 6cm. diam. ÂŁ80 - 120 294 A lacquered papier mache chest and a pair of vases, Kashmir, 19th century, polychrome and gilt decorated, the first of rectangular form with faceted ends, the fitted lid with a scene of an enthroned ruler dancers and attendants, the base with scenes of demons and animal-headed beasts, base and interior plain; the vases with enthroned ruler and attendants to one side and beasts and animals to the other, chest 14cm. x 22cm. x 15cm. deep, vases 20cm. high (3) ÂŁ200 - 300

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295 A Resht work pincushion in a lacquer papier mache box, India, 19th and 20th century, the pin cushion embroidered in gilt metal thread and blue and green silk with a large flower head design to both sides on a red cotton ground, the circular box with scene of polo-players, cushion 7.1cm. diam. £80 - 120 296 A large footed vase, India, 20th century, with openwork panels to sides with vase and flower motif, 31.5cm, high 295

Weight: 1132 grams £400 - 600 297 A Jain painting on cloth, India, 19th century, opaque pigments on cotton, decorated with a cosmic circle with the goddess Padmavati to centre, priests, worshippers and a ruler depicted within the four segments to the out circle, a further circle containing flowers, priests and courtesans, and to exterior band a frieze of animals including sheep, dogs, tigers and elephants, 29 x 29cm. £300 - 400 298 Bhagavati Devi Jitvarpur, “Sname Goddess Manasa”, circa 2000, Madhudbani painting, gouache on paper, 77x57cm £250 - 350

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299 Sushila Devi, “Wedding Day”, circa 1970s, Madhudbani painting, mounted, glazed and framed, painting 51 x 73cm.

The Mithila Art Institute, Bihar, India has confirmed the artist is Sushila Devi. The simple black and white style, done with a fine pen, was originally the work of Brahims (the scribe class) thus the fine pen.

During the 1960’s and 1970’s this type of Madhudbani painting moved from murals to paper, which provides the approximate date for the painting. The Mithila Art Institute have a record on file of a painting by Sushila Devi from 1977. £200 - 300 299

300 Mridula Devi, Elephant Airavati , circa 2000, Madhubani painting, gouache on paper, signed to reverse, 57x77cm £250 - 350

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301 Bhagwan Kapoor (1935-), Diwali, 1960, inscribed to reverse with the artists name, address, title and year of the work and price “RS 250”, mounted, glazed and framed, painting 49 x 33cm.

Born in 1935 in India, Kapoor was educated at the J.J School of Art and Design in Mumbai. He then moved to Paris where he studied under a French Government Scholarship at the Ecole Nationale Supérieure des Beaux-arts.Kapoor’s style combines decorative and folk idioms in a modern style.

References are made to modernity during this formative period in the history of the subcontinent. He has held several solo shows apart from participating in many group shows in India and internationally. Among the awards he has won are the ‘Usha Deshmukh Gold Medal’ and an award at the All India Annual Art Exhibition in Hyderabad.

Bhagwan Kapoor is based in New York. £400 - 600

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302 Bhagwan Kapoor (1935-), Women with pots, circa 1960, acrylic on cloth, with artists monogram lower right, mounted, glazed and framed, painting 59 x 36cm. £300 - 500

304 Vinod Dave, (b. 1948) Indian, A River on your right-1, 2011, archival digital photo, mounted, glazed and framed, 45 x 31cm.

303 Bhagwan Kapoor (1935-), Mother and Daughter, circa 1960, acrylic on cloth, painting 61 x 45cm. £300 - 500

Vinod Davereceived his BFA and MFA from MS University Baroda and MA in Mixed Media from the University of South Carolina, He has won awards from the Lalit Kala Akademi, New Delhi and the Pollock-Krasner Foundation Fellowship.

Provenance: purchased directly from the artist by the present owner.

Select Solo exhibitions: Jehangir Art Gallery and Tao Gallery, Bombay 2005 Gallery Arts India, New York (2004) Gallery Sumukha, Bangalore (2003) Apparo Galleries, Bombay, Madras and New Delhi (2000) Bose Pacia Modern, New York (1998) £350 - 450

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305 305 Avinash Chandra (1931-1991), Indian, Coloured Drawing, 1963, watercolour on paper, signed and dated, gallery label to reverse, framed, 70 x 86.4cm.

Provenance: Purchased from the Hamilton Galleries, St George Street, Hanover Square as a gift to the current vendor for 75 guineas in 1963.

Avinash Chandra (1931-1991) was an Indian painter, who lived and worked in the United Kingdom. Born in Shimla, India, he was brought up there and in Delhi. He attended, and later taught at, Delhi Polytechnic. His students include Paramjit Singh, Arpita Singh and Gopi Gajwani. He moved to Golders Green, London, in 1956. £1,200 - 1,500 306 Ambadas Khobragade, 1922-2012, Untitled, 1973, mixed media on paper, signed lower left, ‘Ambadus 1973,’ 41.5 x 29.5cm £1,200 - 1,500

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307 Satish Panchal, b. 1935, Gravure Sur Bois III, 1/10, 1972, signed lower right in pencil, 54.5x30cm and Gravure Sur Bois, 1975, signed lower right in pencil, 65 x 49cm. (2) Provenance: Private collection Germany ÂŁ800 - 1,200 308 Surya Prakash, b. 1940, Untitled, 1978, Serigraph 4/25, signed lower right in pencil, 76x56cm Provenance: Private collection Germany ÂŁ400 - 600

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309 309 Mumtaz Ali Khan, b. 1947, SURYARAKSHASA, 1976, mixed media on paper, artists proof 3/15, signed bottom right in pencil, 52x35cm.

Provenance: Private collection, Germany £200 - 300

310 310 Prafulla Mohanti, 20th century, Untitled, 1976, 76 x 56cm.

Provenance: Private collection Germany £300 - 500

311 Durga Bai, Indian, Gond Tribe, late 20th century, “Tree of Life”; acrylic on canvas, signed, 79.5 x 137.5cm Note: Durga Bai’s work is rooted in her birthplace, Burbaspur, a village in the Mandla district of Madhya Pradesh. From the Gond tribe the artist started painting the traditional motifs and legends from the age of six. She moved to the artist community in Bhopal with her husband, Subash Vyam, another Gond artist, where she was encouraged to paint by her brother-in-law the late Jangarh Singh Shyam. Durga Bai is the sister of famous Gond artist the late Jangarh Singh Shyam.

Durgai Bai’s images can be playfully versatile as birds turn into planes which in turn can be boats or fish.

Durgai Bai is one of the most celebrated female artist of the Gond tribe.

She is known worldwide for the graphics in the book The Night Life of Trees. £1,200 - 1,500 311

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312 Bombay school, Untitled, Cows and Cowherds, circa 1965, oil on canvas, 106.5 x 62cm. £1,200 - 1,400

312 313 Ramesh Gorjala (b.1979), India, Female Figure, acrylic on canvas, signed and dated 2015, framed 164.5 x 112cm.

Ramesh Gorjala’s paintings remind us of the intertexuality of Indian myths, multiple stories within a tale, many images ensconced within one. Born in 1979, in Kalahasti, Andhra Pradesh to a family of weavers, Ramesh Gorjala learnt the traditional Kalamkari art as a child from his uncle, Balaji Theertham, a national award winning Kalamkari artist. Gorjala’s art reflects the early impressions of being in the midst of an art practiced for generations in his village, where there is a depiction of the mythological characters and stories on textile parchments as well as walls and scrolls. The hues and colours that we find in Gorjala’s paintings is also a testimony to this early influence: earthy reds and greens interspersed with washed browns and sandalwood shades, the combinations are inspired from the Kalamkari traditions.

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Gorjala left his training in commerce midway to pursue art, receiving his BFA and MFA degrees in Painting from JNTU, Hyderabad. It is here that Gorjala moves from the use of vegetable dyes to using acrylic as a medium. Post his BFA days, he travelled to Delhi and Bombay, to soak in the art of veterans and also proceeds to train under artists like Fawad Tamkanath and Laxman Aaley. Ramesh Gorjala has on multiple occasions expressed his deep gratitude for the creative guidance of artists like Thotta Vaikuntam and Surya Prakash. Gorjala’s remarkable body of work has won him many awards, including the 2000 Mahatma Gandhi Birth Centenary Memorial Award from the Victoria Technical Institute (V.T.I.), Chennai, and the 2002 State Award from the A.P. Crafts Council. £1,500 - 2,000

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314 314 Bikash Bhattacharjee (1940-2006), Untitled, Man with magnifying glass, 1978, oil on canvas, signed ‘Bikash ‘78’ to lower left, with inscription to reverse with artists address, a label for the “Chemould Gallery, Calucutta” to reverse, framed, 62 x 46.8cm.

Provenance: Private Collection, Australia, Purchased from the artist by the vendor’s father Bikash Bhattacharjee (21 June 1940 - 18 December 2006) was an Indian painter from Kolkata in West Bengal.

Through his paintings, he depicted the life of the average middle-class Bengali - their aspirations, superstitions, hypocrisy and corruption, and even the violence that is endemic to Kolkata. He worked in oils, acrylics, water-colours, conté and collage. In 2003, he was awarded the highest award of Lalit Kala Akademi, India’s National Academy of Arts, the Lalit Kala Akademi Fellowship. £8,000 - 12,000

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315 315 Zahoor Ul Akhlaq, Pakistani, (1941-1999), Composition 173, oil on canvas, circa 1963, inscribed to the reverse with the artists name, title of the work, and Lahore National College of Arts, framed, 91.5 x 62.5cm.

Provenance: Private Collection Australia, Purchased directly from the artist by the vendor’s parents Zahoor ul Akhlaq (4 February 1941 - 18 January 1999) was a pioneering artist from Pakistan. He is known for his approach to painting, sculpture, design and architecture, as well as his teaching at the NCA (National College of Arts) in Lahore. Akhlaq’s painting invoked a dialogue between modernist abstraction and many traditional forms and practices found within South Asia (including Mughal Miniature painting, calligraphy and vernacular architecture). At a time when his contemporaries in South Asia were developing their work within a modernist tradition, or had primitivist leanings, he eschewed both schools by merging his interest in abstractions with traditional and vernacular practices. Although he evaded the label of an abstract artist, his work mostly fits this definition.

Akhlaq’s influences are from a vast range of sources, which include painting, literature, philosophy, Sufism, dance, and music. His teaching and practice is considered to have had a significant impact on a generation of Contemporary Pakistani art and artists. Zahoor ul Akhlaq is best known for pioneering the contemporary miniature painting in Pakistan. £1,000 - 1,500

316 Zahoor Ul Akhlaq attrib., Pakistani, (1941-1999), Untitled, Composition, oil on canvas, circa 1963, framed, 60.5 x 61.5cm.

Provenance: Private Collection Australia, Purchased directly from the artist by the vendor’s parents £400 - 600

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317 317 Paresh Maity, b. 1965, Untitled composition, gouache on paper. signed and dated ‘91 bottom left, mounted, glazed and framed, painting 74 x 53.5cm.

Provenance: Purchased by the vendor from the Gallery Ganesha, New Delhi in 1992 Paresh Maity is one of India’s most renowned contemporary artists. He lives in Delhi and his works are in many collections worldwide, including the British Museum and the National Gallery of Modern Art, New Delhi. His style has evolved over the years. His early works, such as the present lot, are mostly ethereal, mystical landscapes. His later style has since become more abstract. £4,000 - 6,000

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318 Maqbool Fida Husain (19152011), Indian, Kerala series; serigraph printed in colours, signed, inscribed A/P and numbered 225 in pencil, 102.5x103.5cm (rolled, unframed) ÂŁ600 - 800

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319 Maqbool Fida Husain (19152011), Indian, Kerala series, (Woman with Jug); serigraph printed in colours, signed, inscribed A/P and numbered 225 in pencil, 101.8x103.9cm (rolled, unframed) ÂŁ600 - 800

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320 Maqbool Fida Husain (19152011), Indian, Mother Theresa series; serigraph printed in colours, signed and numbered 93/200 in pencil, 70x101.5cm (rolled, unframed) ÂŁ600 - 800

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321 Maqbool Fida Husain (1915-2011), Indian, Mother Theresa series; serigraph printed in colours, signed and numbered 146/150 in pencil, 84x124.4cm (rolled, unframed) £800 - 1,200

322 Maqbool Fida Husain (1915-2011), Indian, “Islam”, from the Religions series; serigraph printed in colours, signed, titled and inscribed A/P in pencil, 104x75cm (rolled, unframed) £600 - 800

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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Inviting Consignments

ISLAMIC & INDIAN ARTS Friday 25 October

A Mughal jade mirror, India, 18th century, sold for £3500 (including Buyer’s Premium) in October 2018

For a complimentary valuation contact Alice Bailey alicebailey@roseberys.co.uk 70/76 Knights Hill, London, SE27 0JD +44 (0)20 8761 2522 | www.roseberys.co.uk 118

SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Luke Axford Junior Cataloguer Paintings, Prints & Frames lukeaxford@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts helenaanderson@roseberys.co.uk Mark Bowis Head of Department Jewellery & Watches markbowis@roseberys.co.uk John Collins Specialist Books & Manuscripts johncollins@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD Complimentary valuations Monday to Friday: 9.30am to 5.00pm +44 (0) 20 8761 2522 clientservices@roseberys.co.uk Central London Office Valuations by appointment.

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Lot 5

Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Bill Forrest Head of Department Asian Arts billforrest@roseberys.co.uk Richard Gibbon Specialist Jewellery, Silver, Fashion, Textiles & Luxury Accessories richardgibbon@roseberys.co.uk Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk Nic McElhatton Consultant nicmcelhatton@roseberys.co.uk Tess O’Brien Fine Art & Pictures Consultant tessobrien@roseberys.co.uk Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk

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TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract.

Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%.

3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken.

4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold.

Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

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upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing.

5. Removal Costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate.

7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it.

11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges.

12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale.

In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot.

The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax.

6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank.

7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested.

Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician.

9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

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10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory.

11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received.

Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website.

These bids are executed via the RoseberysLive software and there is no surcharge.

13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding.

Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website.

14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment.

15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

CONDITIONS OF SALE Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1.

Definitions

In these Conditions: (a) “auctioneer” means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2.

Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3.

Increments. Bidding increments shall be at the auctioneer’s sole discretion.

4.

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged

at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots.

(Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6.

(1) (a) (b) (2)

Payment Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us.

Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7.

Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction.

A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction.

Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.

8.

(1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

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CONDITIONS OF SALE (f)

to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

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(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system.

By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11.

Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13.

Terms of Sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. (a)

Description and Conditions Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers�.

Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.

Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

16. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement.

We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system.

General

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.

19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting.

21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

22. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

23. English law applies to the interpretation of these Conditions.

These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

CATALOGUE SUBSCRIPTION FORM FULL NAME: ADDRESS: TELEPHONE:

EMAIL:

SUBSCRIPTION OPTIONS Auction Title

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Cost of annual Subscription including Europe postage

Cost of annual Subscription including rest of world postage

Design: Decorative Arts 1860 to Present Day

3

£37.50

£45

£52.50

Chinese, Japanese & South East Asian Art

2

£25

£30

£35

Impressionist, Modern, Post-War & Contemporary Art

2

£25

£30

£35

Fine & Decorative

3

£37.50

£45

£52.50

Islamic & Indian Arts/ Art of India

3

£37.50

£45

£52.50

Jewellery & Watches

3

£37.50

£45

£52.50

Modern & Contemporary British Art

2

£25

£30

£35

Modern & Contemporary Prints

2

£25

£30

£35

Print & Multiples

2

£25

£30

£35

Old Master, 18th & 19th Century Pictures

3

£37.50

£45

£52.50

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Subscription Offer: Buy 2 or more subscriptions save 20% on prices listed Total cost of subscription: Method of Payment: Payment can be made by credit or debit card over the phone or in person, alternatively by bank transfer or cash in person. Payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.): Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, IBAN GB80NWBK60300636952613.

I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate).

Signed:

126

Date:

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS: POSTCODE:

EMAIL:

BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts.

Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy.

I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I confirm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

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AUCTION CALENDAR 2019 May Islamic Art & Manuscripts Friday 3rd May

Modern & Contemporary British Art Tuesday 11th June

Chinese, Japanese & South East Asian Art Tuesday 21st May

Arts of India Wednesday 12th June

June Art & Antiques Saturday 1st June Prints & Multiples in Assocaition with Artsy Online Only Auction Monday 3rd June Tuesday 18th June

Design: Decorative Arts 1860 to the present day Tuesday 25th June July Impressionist, Modern, Post War & Contemporary Art Wednesday 3rd July

70/76 Knights Hill, London SE27 0JD +44 (0) 20 8761 2522 clientservices@roseberys.co.uk

www.roseberys.co.uk

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk