25 Blythe Road

Arthur MillnerISLAMIC, INDIAN, HIMALAYAN & SOUTH EAST ASIAN WORKS OF ART,

INCLUDING GREEK ISLAND AND COPTIC TEXTILES

Thursday 11th June 2015

25 Blythe Road | London’s Specialist Auctioneers

www.25BlytheRoad.com

BR004 Arthur Millner Listing_Layout 1 21/05/2015 14:52 Page 1

Front cover: Lot 140Back cover: Lot 363

AUCTION ENQUIRIES AND INFORMATION

Enquiries:

Arthur MillnerKate Goad

25 Blythe Road Ltd25 Blythe RoadLondon W14 0PD

Tel: +44 (0)20 7806 5541Fax: +44 (0)20 7602 5973Email: [email protected]

Please note that further detailed high resolution images are available in the online listing.

Online Catalogue:

www.25BlytheRoad.comwww.the-saleroom.com

Online bidding only through:


Arthur MillnerISLAMIC, INDIAN, HIMALAYAN &

SOUTH EAST ASIAN WORKS OF ART, INCLUDING GREEK ISLAND AND COPTIC TEXTILES

TO BE SOLD ONLINE BY AUCTION ATwww.25blytheroad.com

25 Blythe Road

London W14 0PD

[email protected]

Tel. +44 (0) 20 7806 5541

PUBLIC EXHIBITIONSunday 7th June 12 noon to 4pm

Monday 8th June 10am to 7pm

Tuesday 9th June 10am to 5pm

Wednesday 10th June 10am to 5pm

Thursday 11th June 10am to 12pm

ONLINE BIDDING

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

This auction is conducted online by 25 Blythe Road Ltd in accordance with ourConditions of Business printed in the back of this catalogue and

further terms listed at www.25blytheroad.com


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IMPORTANT INFORMATION FOR BUYERS

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

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

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

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

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

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

Hammer Price Percentage AmountFrom €0 to €50,000 4%From €50,000.01 to €200,000 3%From €200,000.01 to €350,000 1%From €350,000.01 to €500,000 0.5%Exceeding €500,000 0.25%

25 Blythe Road Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person,subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always bepurchased as cheaply as possible (depending on any other bids received, reserves and competition). This service isoffered free of charge.

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

Payment

Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that werequire seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.We are pleased to accept major credit cards (regrettably we are unable to accept American Express), for which asurcharge will be made of 3% of the transaction total. There is no charge for payments made by a UK debit card;however non-UK debit cards will attract a 3% charge. Cash and Credit card payments, made on the premises, above£6,000 will not be accepted without prior arrangement. Electronic transfers may be sent directly to our Bank.

Storage

On receipt of cleared funds, lots can be collected from 25 Blythe Road during the auction or immediately after itscompletion. Thereafter, all purchased lots will be stored at 25 Blythe Road Ltd’s premises. Please note that collection is BY APPOINTMENT on +44 (0) 207 602 4805. All lots should be cleared within two months of the auction date, after whichthey will be transferred to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storagecosts due to the third party will be payable prior to release.


1A COPPER-GILT REPOUSSE PANELTibet, 18th centuryof rectangular form, depicting a lion, withscrolling mane and tail, gaping mouth andbulging eyes21.5 x 28cm

£2500-3500

2A COPPER REPOUSSE HEAD OF INDRANepal, 15th/16th centurywith incised features, wearing large hoopearrings, his forehead with third eye,wearing elaborate crown with turquoiseinlay and a winged kirttimukha, traces of theoriginal gilding, mounted21.5cm

ProvenanceSpink and Son, 1980s

Indra has vedic origins and was originallychief of the gods in the Hindu pantheon.Over time, however, his cult in India wassuperseded by that of Siva, Vishnu andDurga. In Nepal, however, his prestige hasendured, and he is revered by Buddhists aswell as Hindus. As king of the gods, he isdepicted richly adorned. The key identifyingmark here is the third eye, positionedhorizontally on his forehead.

£4000-6000

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3THE GODDESS SANKHATibet, 16th centurybronze openwork plaque, probably from astupa, the goddess depicted holding theconch in front while dancing on a lotus,turquoise inlaid jewellery, mounted11.5cm high

The Auspicious Symbols of TibetanBuddhism are sometimes personified asdeities holding the image of the symbol.Sankha is the goddess of the conch, one ofthe Eight Auspicious Symbols. She isdepicted in dancing attitude with a conch-shell in her hands. She would have beenaccompanied on a stupa by the remainingseven Auspicious Symbols.

£3500-4500

4A VOTIVE PLAQUE DEPICTINGKURUKULLA Tibet or Mongolia, 19th centurypolychrome-painted and gilded clay,moulded in relief, a seated figure ofBuddha in the clouds above, silk lining onthe back16cm high

£700-900

5A TSA-TSA DEPICTING HEVAJRATibet, circa 18th centurypolychrome-painted moulded clay, themulti-armed deity in yab-yum with hisconsort, surrounded by a flaming aureole,standing on corpses on a lotus, threeincised Tibetan characters on the reverse12.3cm high

£800-1200

6A BRONZE FIGURE OF A DONORNepal, 19th centurythe male figure seated on a square lotusbase, wearing flowing pleated robes andcap, holding objects in each hand, anoffering tray in front15cm high

£500-700

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77A COPPER-GILT RELIEF DEPICTING A NAGARAJATibet, 14th/15th centuryrepousse decoration with traces of black and red pigment, the fierce male deity depicted flying through the heavens amidst multipleflaming cobras, holding a cakra aloft in his left hand, wearing large disc earrings and crown, his face with bulging eyes, moustache andgoatee beard, mounted31cm high

ProvenancePrivate collection, France, early 1980sSpink and Son Ltd, mid. 1990s.

£12000-15000

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88A CLAY FIGURE OF MILAREPATibet, 19th centurypainted and gilded, the long haired elderlysage seated on a square base, a whitecape loosely hanging from his leftshoulder, his right hand held to his ear9.5cm high

Milarepa was a historic character in 11thcentury Tibet, who after a wayward youthachieved enlightenment and became arevered poet and teacher. He is usuallydepicted with his hand to his ear,symbolising his receptiveness to spiritualwisdom and tantric teaching. He is oftendepicted with a greenish hue, said to beon account of of his love of nettle tea.

£1000-1500

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9A BRONZE FIGURE OF PADMAPANITibet, 17th/18th centurystanding on a lotus, wearing voluminousrobes flowing at his feet, his right hand invarada, his left in vitarka mudra, a lotusblossoming at his left shoulder, wearingelaborate headdress and large earrings,two scrolls remaining underneath12.2cm high

This is one of the most popular of the 108forms of the bodhisattva Avalokitesvara,personifying compassion.

£2000-3000

10A COPPER GILT PLAQUETibet, 18th centurythe pierced repousse relief decorationdepicting a man in Tibetan dress holding alotus flower, surrounded by a partialbeaded border with turquoise inlay at thebottom, traces of black and red pigment,mounted27 x 20.3cm

£6000-8000

1111A COPPER-GILT OFFERING DEPICTINGLUNGTAMongolia, 18th-19th centurythe horse emblem within an openworkroundel, a flaming jewel on his back, on lotus base12.5cm high

The ‘Wind Horse’ represents good fortune,and probably dates back to an earlier, pre-Buddhist tradition.

£2500-3500

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1212A CARVED WOOD SECTION FROM ASHRINETibet, circa 17th centurypolychrome-painted and gilded, depictingManjusri standing with his right hand at hischest, his left in varada mudra by his side,each with the stem of a padma, floweringat each shoulder, one with khadga theother with a book, a diminutive figureriding a vyala and elephant on his left18 x 15.5cm

£500-700

13A GILT BRONZE FIGURE OF GREENTARATibet, 15th/16th centuryseated in lalitasana on a double lotusthrone, her right hand in varada, her left invitarka mudra, a lotus flowering at eachshoulder, her elaborate jewellery set withturquoise and coral, a diminutive figure ofBuddha in her headdress12.2cm high

ProvenanceAmerican private collection

£2000-3000

14A SINO-TIBETAN BRONZE FIGURE OF ALAMAChina, probably Beijing, 19th centurySeated on a double cushion, the potbellied figure with hands in dhyanasanaand holding the stem of a padma, wearingbroad cap, his garments and cushionswith incised decoration, painted Chinesecharacters on the sealing plate25.5cm high

ProvenanceAn American private collection

£2000-3000

15A BRASS FIGURE OF SADAKSARITibet, 13th/14th centurySeated on a double lotus throne indhyanasana, his primary hands innamaskara mudra, his upper hands invitarka mudra, wearing a tall three leafcrown, his eyes with traces of copper andsilver inlay20.5cm

ProvenancePrivate collection, USA, acquired before1990.

This figure is a provincial version of aslightly larger and more refined image ofVairocana in the Victoria and AlbertMuseum, London. See Rhie and Thurman:‘Wisdom and Compassion’ New York 1991,no.140

£2000-3000

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1616A POLYCHROME-PAINTED WOOD FIGURE OF LAMA KUNZAN TENPI NYIMA (1843-1891)Tibet, 19th centuryseated on a lotus throne, on separate raised plinth, wearing richly brocaded robes and Nyingma lama’s cap, his hands in abhaya anddhyana mudra, a Buddhist manuscript in his left hand, his face with finely painted features, inscribed in gold Tibetan script at the back,the underside with double vajra painted on red muslin23cm high (main figure with lotus base); 27.5cm (together)

This is an extremely rare depiction of an important Tibetan lama of the Nyingma school. Kunzan Tenpi Nyima who is identified by theTibetan inscription at the back, is one of the incarnations of Pema Lingpa, a famous discoverer of sacred texts (terton), who lived in the15th century. According to Tibetan tradition Pema Lingpa’s lineage is carried on through three lines of emanations of Body, Speech, andMind all of whom currently reside in Bhutan. Kunzan Tenpi Nyima was the 8th Speech incarnation of Pema Lingpa whose life waspredicted in the 9th century by Padmasambhava, the founder of the Nyingma school.

£5000-8000

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1717A HORSE-HEADED DEITYTibet, 18th-19th centuryCopper-gilt repousse relief, the dancingfigure holding a ball(?) in his left hand, hisright hand in karana mudra, standing on alotus base, mounted on stand27cm high

ProvenancePrivate British Collection

£1000-1500

18A SINO-TIBETAN GILT BRONZE FIGUREOF SIMHAVAKTRAChina, 18th centurydancing on a prostrate demon on a lotusthrone, the lion headed goddess holding akarttrka aloft in her right hand, wearing askull crown, her hair and mouth with redpigment18cm high

ProvenancePrivate collection, London, acquired in the1980s.

Simhavaktra, ‘lion-headed’ is one of thedakinis, female Buddhist deities whichbring inspiration for mortals. She is afierce protector for monks and carries thecakra symbol, the wheel of the Buddhistlaw, hanging from her necklace.

£4000-6000

19A POLYCHROME-PAINTED WOODORNAMENT DEPICTING A KALASATibet, 19th centuryCarved in openwork relief, in the form of anoverflowing vase with a bouquet of flowers62cm high

£200-300 19

2020AN IRON BREASTPLATETibet, circa 17th centuryof convex circular form, with central giltspiral medallion and gilt outer border, thereverse lined with cloth, mounted on stand19cm diam.

£800-1200

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2121A BRONZE RITUAL THUNDERBOLT(vajra)Tibet, circa 18th centurywith waisted double lotus handle, withfour-fold lightning bolts at either endissuing from makara heads14.3cm long

£1200-1500

2222PAIR OF BRASS ORNAMENTSTibet, 17th century or earlierbrass repousse with turquoise inlay, of hexagonal form, each in the form of a lotus flower in relief, probably from a crown on an image, mounted on slate base6.4 x 4.2cm

£500-700

2323A TSA-TSA MOULDTibet, 18th/19th centurybrass, with wood handle, the platedepicting three figures of lamas inreverse, with plain tapering wood handle9.8cm long (length of brass plate); 22.5cm(length with handle)

This mould was used to reproduce clayvotive plaques (tsa-tsa).

£600-800

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24A WOOD RITUAL MASKNorthern Nepal, 19th centuryin the form of a man’s face, carved wood,with holes for eyes and mouth29cm high

£400-600

25A COPPER-GILT GARLANDKokonor Style, Mongolia, 18th century ofcrescent-shaped form, hinged at thecentre, the openwork repousse designcomposed of thirteen severed heads, arosette at either end, surrounded by aprofusely scrolling band, twin suspensionloops at either end, mounted on clothbacked board46 x 46cm approx.

This impressive garland would haveformed part of the attire of a large imageof a dharmapala

£5000-7000

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2626A BUDDHIST MALAEastern Tibet, 19th century or earlierstrung with bodhi seed beads, punctuatedwith conch and cornelian beads, and twoiron counters12-14mm (diameter of beads)

£300-400

2727A BUDDHIST ROSARY (mala)Tibet, 19th centurywith 108 dark wood beads, one largeamber bead, three cornelian beads andtwo metal counters

£350-450

28A BONPO STUPATibet, 15th centuryCast bronze, the base of square section,the sides with sacred emblems, thebulbous element above decorated withgarlands, supporting a tapering tieredsuperstructure topped with kalasa finial,the base with later wood seal incised withsvastika emblem22.5cm high

£4000-6000

29A POLYCHROME-PAINTED RITUALDRUM (damaru)Tibet, 19th centurywood, with stretched hide on one side, inthe form of a pair of hemispheres, theexterior painted with skulls and severedheads interspersed with cartouchescontaining siddhas and cemeteries, theinterior with two concentric lines ofTibetan script including the name ofVajravarahi and a Sanskrit mantra 19cm diam.; 12cm wide

£600-800

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3030TWO BRONZE RITUAL THUNDERBOLTS(vajra)Tibet, 18th/19th centuryone with waisted double lotus handle, theother plain, each with eightfold lightningbolts at either end 13; 13.3cm long

£300-500

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3131A PAIR OF BUDDHIST TRUMPETS(Dungchen)Tibet, 19th centuryin three concertina sections, of longtapering form, with repousse brassChinese style mounts around thecircumference162; 153cm approx. (2)

ProvenanceRobin Wigington collection, Stratford uponAvon

£250-350

3232A CONCH SHELL TRUMPETTibet, early 20th centurythe body with silver repousse appliquemounts, decorated with various animalsand scrolling plants, eight medallions onthe side depicting the auspicious symbolsof Buddhism, with turquoise and coralsettings13.5cm long

£200-300

3333A TURQUOISE SET SILVER LIDTibet, 18th centuryfrom an amulet box, of circular form, withchased and repousse scrolling decoration5.7cm diam

£150-250

3434A MANI STONETibet, probably 18th/19th centurynatural stone, carved in lantsa script inshallow relief with the six syllable mantraof Avalokitesvara20.5 x 13 x 3cm approx.

£100-150

3535SIX WOOD RITUAL OBJECTSTibet, 18th-20th centuriesComprising two wood fertility symbols inthe form of genitalia, a carved woodstylized Buddhist figure, a cloth lama’scap, a folding puja spoon and a leatherobject62cm long (altar spoon) fully opened (6)

£80-120

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36A BRONZE TRUMPET (Dungchen)Tibet, 19th centurycopper and brass, of tapering form, withflared brass opening67.5cm long

ProvenancePrivate collection, London

£60-80

3737THREE WOOD PHURBUS Tibet, 18th-19th centuryEach with three-sided blades, two withtriple head finial, the third of facetedabstract form, apart from stylised makarahead at the centre, each with traces ofpigment 23.5cm long and smaller (3)


£150-250

3838A TSAKLI DEPICTING A BARDO DEITYTibet, 18th/19th centurygouache on card, the deer-headed figuredepicted holding a boulder(?), seated on arug in a landscape, red border, framed16.4 x 12cm

£250-350

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3939A TSAKLI DEPICTING VAJRASATTVATibet, circa 18th centurypigment on cloth, the deity depictedwithin a pear-shaped medallion, framed14 x 8.2cm

£120-150

4040A PAINTED WOOD CABINET PANELTibet, 18th/19th centurypainted with gesso and gold, the centralcircular medallion depicting a Buddhistgoddess, her hands in abhaya mudra andholding a blue gem, surrounded byscrolling stylised foliage46 x 52cm

£700-900

4141A RITUAL CROWN (rigma)Tibet, 18th centurycloth with gesso, polychrome-painted andgilded, in the form of five leaves withleather attachments, each painted with aform of Buddha (tathagata)48cm approx. diameter (opened out)

£200-300

4242GROUP OF SEVEN TSAKLISTibet, 19th centurygouache with ink on paper, depictingvotive offerings, each with orange border,inscribed in cursive Tibetan script on thereverse83 x 70mm (7)

£200-300

4343THREE TSAKLISTibet, 19th centurywatercolour and ink on paper, eachdepicting a naga couple130 x 73mm (3)

£350-450

4444A THANGKA DEPICTING PEHARMongolia, 19th centurypigment with gold on cloth, silk mount,the dharmapala depicted riding a whitelion and accompanied by five deities fromhis retinue, a figure of Padmasambhava atthe top43 x 29cm (inside mount)

The Dharmapala Pehar was originally alocal deity in Mongolia; according tolegend, he was subdued and converted toBuddhism by the famous 8th centuryteacher Padmasambhava who made him adharmapala and protector of Tibet’s firstmonastery at Samye.

£2500-3500

4545A THANGKA DEPICTING SADAKSARIMongolia, early 20th centuryPigment with gold on cloth, silk mount,the four armed Buddhist deity seatedholding a padma in his upper left hand,surrounded by diminutive figures ofdevotees and other deities, monastic sealon the reverse54 x 38.5cm

£500-700

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4646A THANGKA DEPICTING PEHARTibet, 19th centurypigment on cloth, silk mount, thedharmapala depicted riding a white lionand accompanied by five deities from his retinue, a figure of Padmasambhava at the top43 x 29cm (inside mount)

The Dharmapala Pehar was originally alocal deity in Mongolia; according tolegend, he was subdued and converted toBuddhism by the famous 8th centuryteacher Padmasambhava who made him adharmapala and protector of Tibet’s firstmonastery at Samye.

£2500-3500

4747A THANG-KA DEPICTING LHA-MO ON ACAMELMongolia, 19th centuryPigment on cloth, the fiercesome deitywielding a club and skull bowl, mounted320 x 260mm

Palden Lha-mo is consort of theDharmapala Mahakala, and fierceprotectress, widely worshipped in Tibetand Mongolia.

£450-550

48A PAINTED WOOD PANEL FROM ACABINETTibet, 19th centurydepicting the siddha Drupchen Sogpo Pal-gyi Yeshe, with his tiger on a chainleash in a mountainous wooded landscape35.5 x 70.5cm

Exhibited:Asia Society, London

Drupchen Sogpo Pal-gyi Yeshe, was one ofPadmasambhava’s pupils who lived in the8th century. He was born in Central Tibet,near the holy Yamdrok lake, and wasreputed to have gained immense physicalstrength through his meditation practices.His strength was so great that he couldtame wild animals with ease and hisattribute, therefore, is a tiger. Althoughreferences to Sogpo Pal-gyi Yeshe can befound in Nyingma texts, images of him areextremely rare.

£1000-1500

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49A TSAKLI DEPICTINGPADMASAMBHAVATibet, 18th centurygouache with gold on paper, the Buddhistteacher seated within a rainbow halo, on alotus throne, surrounded by a red border,inscriptions in cursive Tibetan on thereverse13 x 10cm

£600-800

5050A THANG-KA DEPICTINGRATNASAMBHAVATibet, 18th centuryPigment with gold on cloth, the Buddhaseated on a lotus, surrounded by multiplehaloes and verdant landscape, diminutivefigures of Tsong ka pa and Silaparamita (?)above, framed592 x 400mm (visible area)

£200-300

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5151A THANG-KA DEPICTING THE ARHATPINDOLABuryatia, Siberia, Russia, 19th centuryPigment with gold on cloth, the elderlyfigure depicted seated on an upright chairwith footstool outside a cave in a hillylandscape, holding bowl and book while adiminutive devotee sits at his feet, a fruit treeand peacocks behind, Chinese silk mount620 x 455mm (image)

Pindola, known as Pindara “seeker ofalms” in Tibetan, is known for his love offood as well as his intelligence andknowledge; he is triumphant over heretics.Although this painting is stylistically wellwithin the Tibetan idiom, there are someidiosyncrasies which are perhapsindicative of its geographical distancefrom the Tibetan heartland; althougharhats are often depicted turned to oneside, rather than facing ahead as is thecase with most images, it is very rare forthe figure to be in full profile as here.

£1000-1500

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52WHITE TARANepal, 19th centurygouache with gold on paper, the Buddhistgoddess depicted on a lotus, floating on alake300 x 230mm

£200-300

5353TWO MEDICAL PAINTINGSTibet, late 19th centurypigment with ink on paper, one depictingin a series of rows the stages in childbirth,each inscribed, the other an anatomicaldiagram showing the details of theskeleton and organs, each inscribed,mounted633 x 402mm; 602 x 404mm (2)

£400-600

5454A MONUMENTAL BUDDHIST BANNERTibet, 19th centuryink and pigment on cotton, of very longrectangular form, depicting (from left toright): Vajrapani, Sakyamuni,Samantabhadra, Vajrasattva, Sadaksari,Amitayus, Padmasambhava, Manjusri,Vajradhara, a lama, Amoghasiddhi andSimhavaktra135 x 820cm approx.

£1000-1500

55 detail55A TEMPLE HANGINGTibet, 19th centurycomposed of a row of nineteen tsaklismounted on cloth, each depicting a lamaor Buddhist deity, Tibetan letters on thereverse of each146cm long approx.


£200-300

56 detail56A TEMPLE HANGINGTibet, 19th centurycomposed of a row of thirty tsaklismounted on cloth, each depicting a dakini,lama or Buddhist deity236cm approx. long


£300-500

5757A TSAKLI DEPICTING A STUPATibet, 19th centurypigment with gold on cloth, a figure ofVajrapani standing in front, mounted18.5 x 14.9cm


£250-350

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5858A THANG-KA DEPICTING A LAMABhutan, 18th centurypigment with gold on cloth, silk surroundwith Chinese brocade panel below, thereverse with painted stupa emblem andlantsa inscription73.5 x 52.5cm (painting)

ProvenanceHugh Arthur Lewes (1839-1914)Thence by Descent

Hugh Arthur Lewes was born in Cawnpore(now Kanpur) in 1839 and served in the19th Punjab Infantry in the 1860s. Afternumerous incursions by the Bhutaneseinto India, a punitive expedition was sentinto the kingdom in 1864. On 6thDecember, the fort of Dalim Kote wascaptured, and this thang-ka was Lewes’share of the loot. Sections of his diary andresearch by the vendor’s father, as well asa photograph of Lewes are included withthis lot.

£300-500

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59TWO TSAKLISTibet, 19th centurypigment on cloth, the larger depictingVajravarahi, the red coloured dakinidancing while holding a karttrka and askull, inscribed in Tibetan on the reverse,the other depicting Vajrabhairava with hisconsort, his vahana vomiting flames,surrounded by four similar figures, afigure of Mahakala at the top, both framed15.7 x 12.7cm; 9 x 7.1cm (2)

£250-350

6060FOUR TSAKLISTibet, 19th centuryTwo painted on cloth, depictingVajrasattva, with in yab-yum, framedtogether, another on paper depicting aphurbu, the fourth on card depicting aquartet of Bar-Do deities, framed130 x 95mm and smaller

£150-250

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61A KIRTTIMUKHA MASKIndia, 19th centurybrass repousse, the mythical beast withbulging eyes and gaping mouth24.5cm high

ProvenancePrivate collection, Yorkshire

The kirttimukha ‘face of glory’, is the headof a mythical lion, usually placed above ashrine or doorway.

£80-120

6262A SMALL CHOLA FIGURE OF SIVATamil Nadu, South India, 11th/12th centurybronze, probably from a Somaskandagroup, seated in lalitasana, his twoprimary hands in abhaya and vitarkamudra, his upper hands holding a conchand a deer, wearing tall headdress11cm high


The popular representation of the familygroup of Siva, Uma (Parvati) and Skanda,is particularly common in South India. Seefor example Anna Dallapiccola, Dictionaryof Hindu Lore and Legend, London 2002,p.182.

£800-1200

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6363SRI DEVI AND BHU-DEVISouth India, 18th century‘gangajumna’ cast brass and bronze, thetwo consorts of Vishnu each standing withbodies slightly flexed, holding a padma,Sri Devi wearing the characteristic kucha-bandha across her breasts16, 16.2cm (2)


£1200-1500

6464A BRONZE FIGURE OF A DEITYGujarat, Western India, 18th/19th centurystanding on a pierced square base, hisbody of stylised form, wearing large hoopearrings, his right hand raise, his left heldin front, wearing distinctive pointed boots23cm high


£200-300

6565THE YOUNG KRISHNAWestern Deccan, India, 19th centurybrass, the god standing on a lotus base,holding a his churning stick, his hair tied ina bun9.7cm high


This unusual form of Krishna isworshipped in Udupi on the coast ofKarnataka. Rukmini is said to have had animage made to remind her of the momentwhen the mischevous Krishna seized thebutter churning stick with its turning rope,and the image was later brought to Udupiwhere it became the centre of animportant cult.

£400-600

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66A FOUR-ARMED DEITY, PROBABLYKRISHNABengal, 18th centurycast brass, the slender figure on a circularlotus base, holding attributes in each ofhis hands, wearing dhoti and jewelledbelt, his hair gathered in a bun with budfinial35cm


£1500-2500

6767A RARE STANDING BRONZE FIGURE OFNARASIMHATamil Nadu, South India, 15th/16th centurythe lion headed avatar of Vishnu, standingon a lotus base, his primary hands inabhaya and varada mudra, his upperhands holding cakra and sankha, wearingtall conical headdress17cm high


It is perhaps surprising that Narasimha israrely depicted standing in the standard‘Vishnu’ pose; he is much more often seenseated, either with his consort or in theprocess of disembowelling the asuraHiranyakasipu.

£1000-1500

19


68A BRONZE FIGURE OF LAKSHMITamil Nadu, South India, circa 1900seated on a double lotus throne, on raisedpierced plinth, the goddess in sattvasana,her primary hands in abhaya and varadamudra, her upper hands both holding apadma, her breasts with kucha-bandha,with makara earrings and tall cylindricalheaddress surmounted by bud finial,indistinct label on the underside reading:Given me by H.A.Simpson [?]with several[?] others [.....] July 192233cm high


£300-400

69A BRASS LINGAM COVERWestern India, probably Maharashtra,18th/19th centuryin the form of a mask with large almond-shaped eyes, a third eye on the foreheadand headdress with cobra and pointed finial25cm high


£500-700

70A ‘GANGAJUMNA’ FIGURE OF GARUDASouth India, 18th centurybrass and bronze, the winged vehicle ofVishnu standing on a lotus, his hands innamaskara mudra11.8cm high


£500-700

71A GANGAJUMNA FIGURE OF VISHNUSouth India, 18th centurybronze and brass, standing on a lotusthrone, the four armed deity with primaryright hand in varada mudra, his upperhands holding cakra and sankha, his talltiered headdress with bud finial13cm high


£600-800

72A ‘GANGAJUMNA’ FIGURE OF VITHOBASouth India, 18th centurybronze and brass, standing on a lotus, his hands at his hips, holding a padmaand sankha13.5cm high


£400-500

20

68 68

70 72t71


7373A ‘GANGAJUMNA’ FIGURE OF RAMATamil Nadu, South India, circa 18thcenturybronze and brass, standing on a lotus,holding his bow (now missing), his quiverbehind his right shoulder, wearing tallheaddress with bud finial12.4cm high


£300-400

7474A BRONZE FIGURE OF HANUMANSouth India, circa 18th centurythe monkey headed god seated insattvasana holding his club in his righthand, the uprooted tree(?) in his left4.2cm high


£150-200

7575NARASIMHA AND LAKSHMISouth India, 17th/18th centurythe lion-headed avatar of Vishnu seated ona lotus throne, sheltered by a five-headedcobra canopy, his legs loosely crossed,holding his consort on his knee, hisprimary right hand in varada mudra, hisupper hands holding a sankha and cakra13cm high


£1200-1500

7676A BRONZE FIGURE OF VARAHA ANDHIS CONSORTSouth India, circa 17th centurythe four-armed boar-headed avatar ofVishnu seated with his consort on his left knee6.5cm high


£200-300

7777A BRONZE FIGURE OF BALAKRISHNATamil Nadu, South India, 17th/18th centurythe infant Krishna depicted crawling andholding a stolen piece of butter in hishand, wearing a tall flared circular hat10cm high


£700-900

7878THE INFANT KRISHNASouth India, circa 18th centurybrass, seated on a lotus with legs looselycrossed, a butter ball in his right hand, abowl in his left7.5cm high


£300-400

21


7979A BRONZE FIGURE OF ANNAPURNAGujarat, Western India, 16th centuryseated on a stool with her diminutivevehicle, the lion at her feet, holding herladle in her lap6.5cm high


Annapurna is the Hindu goddess ofnourishment, especially worshipped inVaranasi (Benares). She uses her largeladle to serve food to her devotees.

£100-150

8080A BRONZE FIGURE OF GANESHA WITHHIS CONSORTTamil Nadu, South India, circa 18thcenturybronze, the pot-bellied elephant headeddeity with ten arms, his primary right handholding laddoo, holding his consort in his left6.7cm high


£250-350

8181A CHOLA BRONZE FIGURE OF KRISHNATamil Nadu, South India, 12th/13th centurystanding on his left foot, his right foot andleft arm raised in dance, a ball of butter inhis right hand, his hair gathered in a bun7.1cm high


£250-350

8282KRISHNA VENUGOPALA WITH HISCONSORTSouth India, 16th/17th centuryseated together on a rectangular throne,the four-armed deity playing the flute(now missing), holding his consort whosits on his left knee9.4cm high


£400-500

8383A BRONZE FIGURE OF RAMASouth India, 18th centuryhis hands originally holding his bowl, aquiver hanging from his right shoulder12cm high


£250-350

8484BHU-DEVI AND SRI-DEVITamil Nadu, South India, 18th/19th centurycast brass, the two consorts of Vishnustanding on lotus bases, raise on plinths,each holding a lotus in one hand, the otherby her side, Sri-Devi wearing a kuchabandha over her breasts18cm high each approx. (2)


£1200-1500

22


8585A BRONZE IMAGE OF UMA-MAHESHVARASouth India, probably Tamil Nadu, circa18th centurythe Hindu deities seated on a raised lotusthrone, the four armed Siva with his legsin lalitasana, his consort Parvati resting onhis left knee, his primary hands in abhayaand varada mudra, his upper handsholding an axe and a deer, a head ofBhairava and a crescent in his crown16.5cm high


£1000-1200

8686A BRASS FIGURE OF KRISHNAVENUGOPALABengal, Eastern India, 19th centurystanding on a circular base on ebonisedwood stand20cm high (excluding stand)


£300-500

8787A BRONZE FIGURE OF ARDHANISVARASouth India, 20th centurythe composite deity standing on a lotusbase, with tall headdress22.5cm high


Ardhanisvara, who represents Siva andParvati combined, symbolises the unity ofmale and female, cause of creation

£70-100

8888A BRASS VISHNU SHRINESouth India, 19th centuryin five sections, the central figure ofVishnu flanked by his consorts Sri Deviand Bhu-Devi, on rectangular lotus base,the god shelterred by a five headed nagaand surrounded by an aureole withmakaratorana arch surmounted bykirttimukha20cm high (together) (5)


£600-800

8989A BRASS SHRINE DEPICTING LAKSHMI-NARAYANASouth India, probably Tamil Nadu, 18thcenturyin three sections, the four-armed Vishnuholding his consort on his left knee, seatedtogether on a double lotus, supported by adiminutive figure of Garuda, a five headednaga and kirttimukha above21.5cm high


£600-800

9090A BRASS HANUMAN SHRINESouth India, 18th/19th centuryin three sections, the monkey-headeddeity standing on a tiered base, withhands in namaskara mudra, his tail archedbehind his back, surrounded by a leafyaureole, surmounted by a kirtimukha25cm high


£500-600

23


9191A BRASS SHRINEIndia, 19th centuryprobably Jain, in two sections, comprisinga rectangular raised base and openworkprabha, the latter with a pair of vyalas atthe bottom on either side, withmakaratorana above, surmounted bykirttimukha, a tree in the middle with a fiveheaded cobra wrapped around the trunk21.4cm high


£50-100

9292A BRASS AND BRONZE SHRINEDEPICTING VISHNUSouth India, 19th centuryin three sections, the bronze four-armeddeity with primary hands in varada mudraand resting on his mace (now missing),his upper hands holding cakra and sankha,on brass stand, a brass aureole behindwith lef design, a cobra canopy andkirttimukha finial at the top27.4cm high


£500-700

9393A BRASS FIGURE OF DURGAWestern Deccan, 18th centuryin three sections, standing on a raisedsquare plinth, holding conch, rosary, bowland mace in her four hands, a five headednaga and kirttimukha above23.5cm high


£1000-1200

9494A BRONZE FIGURE OF RADHABengal, Eastern India, 19th centurystanding on a circular lotus base, her righthand raised holding a fruit(?), her left ather side in vitarka mudra22cm high


£400-600

9595A BRONZE FIGURE OF VISHNUTamil Nadu, South India, 18th/19th centurystanding on a lotus, the four-armed deitywith primary right hand in varada mudra,his left resting on his mace (now missing),his upper hands holding cakra and sankha,wearing tall headdress with bud finial23.6cm high

£1000-1500

9696KRISHNA VENUGOPALATamil Nadu, South India, 18th/19th centurybronze, standing on a lotus base, playingthe flute (now missing), while a cow fromthe herd licks his feet11.5cm high

£400-600

24


9797A BRONZE FIGURE OF KRISHNABengal, Eastern India, 18th centurystanding with legs crossed, his mace at hisfeet, playing the flute (now missing), zincand stone inlaid eyes32cm high

£1200-1500

98

98A BHUTA HERO RIDING PANJURLIKarnataka, South-Western India, 19thcenturybronze, in two sections, the mousatchioedfigure holding a sword (now missing),wearing a crown and elaborate flaringcape(?), the boar Panjurli with pointedears and beaded ridge along his snout and back15.6cm high (together) (2)

The cult of bhuta or spirit worship iscentred in Western Karnataka and the boarPanjurli is best known of these sub-deities.Wild boars are notoriously destructive tofarmers, and the cult is said to have arisenas local inhabitants tried to pacify therampaging animals.

£250-350

9999A BRASS SIVA MASK (mohra)Himachal Pradesh, 15th century or laterin the form of a stylised bust, the headwith crown, large earrings and third eye,mounted19.5cm high

ProvenancePrivate collection, Italy

£300-500

100100A BRONZE FIGURE OF HANUMANProbably Tamil Nadu, South India, circa18th centurystanding on a lotus, the monkey headeddeity with hands in namaskara mudra,wearing floral dhoti, his long tail with bellscrolling behind his head12cm high

ProvenancePrivate collection, Italy, since circa 1980

£500-800

101101A BRONZE FIGURE OF GANESHAWestern Deccan, 16th/17th centurythe four armed deity, holding attributes inhis hands, seated with legs looselycrossed, his vehicle the rat at his feet, hisforehead with silver inlay, the prabhasurmounted by a kalasa10.8cm high

£200-300

25


102102A BRASS HAKU PATRA PLAQUEAndhra Pradesh, Deccan, Southern India, dated samvat 1516/ AD.1572cast brass, of rectangular form, with cusped arched top, surmounted by kirttimukha, the front with five tiers of relief scenes, the top withcentral figure of Siva with Nandi at his feet, flanked by Vishnu and Brahma; the second tier with central figure of Durga, with three asuraheads below, two devotees on the left, a figure of Ganesha and a mirror on the right; the middle tier with a scene of a sculpture workshopwith craftsmen making images of a male deity and Brahma, showing a grinding wheel and anvil being used, the fourth tier with a similarscene, including a figure bringing an implement by horse, the bottom tier with two camels and a herdsman (?) and seated deity, thereverse densely inscribed with 52 lines of Telugu script27 x 13.2 x 0.6cm

ProvenancePrivate collection, LondonAcquired about 25 years ago

The text, a full transcript and translation of which is sold with this lot, comprises a mythical description of the origin of the Visvabrahminsor Visvakarmas, a community of artisans chiefly in the Southern states of India. They see themselves as descendants and followers ofVisvakarma, the Hindu god who is considered architect of the universe, and they are divided into five groups, each descending from oneof Visvakarma’s five sons, comprising carpenters, blacksmiths, bell metalworkers, goldsmiths and stonemasons.

Haku Patras are effectively grant certificates which accord rights to single or groups of people: this might be rights over the use of land,or to perform or provide services. They are thought to have been in use for about 500 years, which makes this example amongst theearliest. As well as metal, Haku Patras are sometimes paper documents or scrolls. The main work on the subject is research undertakenby R. Thirmal Rao funded by the British Library. See http://eap.bl.uk/ (search for no.201). A similar example to ours, in the J. LeRoyDavidson Collection, was exhibited in San Diego, at the Mingei International Museum of Folk Art, March-June 1981

£5000-7000

26


103A HAKU PATRA PLAQUETamil Nadu, Southern India, probably circa17th centuryof arched rectangular form, with inciseddecoration and inscriptions, comprising,on one side, at the top, figures of Siva andParvati on Nandi, flanked by figures oftheir sons, Ganesha on his rat, andSubrahmanya on his peacock, the otherside with a devotional scene with a priestand devotee, flanked by the sun andmoon, the main panels on either sidedensely filled with 63 and 54 lines of Tamilscript, mounted in wood stand29.9 x 22.2cm; 2mm approx. thick

ProvenancePrivate collection, LondonAcquired about 25 years ago.

See explanatory note on 102.

£3000-5000

104104A TORANA FROM A SHRINENorthern India, 19th centurybrass repousse with red pigment, made insections rivetted together, the cusped archwith stylised flower and leaf design, akirttimukha mask at the apex58 x 80cm

£250-350

105A JAIN BRONZE FIGURE OF ATIRTHANKARAWestern India, 15th-16th centurystanding in kayotsarga, the nude figuremale figure with parasol over his head, acolumn on his left with remains of a smallseated jina, a pair of lotus buds issuingfrom the ground below34cm high

ProvenanceLondon art market, circa 1990.

This fragment originally formed part of avery large brass shrine or altarpiece. For acomplete shrine of similar scale in theNorton Simon Museum, see PratapadityaPal, The Peaceful Liberators: Jain Art fromIndia, Los Angeles 1994, no.37, p.150. Thestanding Jinas adjacent to the main imageare almost identical to the figure in ourfragment.

£3000-5000

27

103 105


106A SMALL BRONZE FIGURE OF BUDDHAKashmir or Gandhara, 4th/5th centuryseated in padmasana on a lotus, his handsin dharmacakra mudra, with elongatedearlobes and bun usnisa, socket forattachment underneath5.9cm high

The socket underneath suggests that thisfigure was originally part of a larger shrineor stupa. For a closely related figure ofMaitreya in the Los Angeles CountyMuseum of Art, see Pratapaditya Pal,Indian Sculpture: A Catalogue of the LosAngeles County Museum, Berkeley 1986,no.S100, p.226

£700-900

107A BRONZE FIGURE OF BUDDHAKashmir, Northern India, 5th/6th centurystanding with body slightly flexed, hisright hand raised in abhaya mudra, his leftholding a begging bowl, wearing conicalheaddress, his head surrounded by a halo8cm high

£600-800

108A BRONZE FIGURE OF A BODHISATTVAKashmir, Northern India, 6th/7th centurystanding with right hand in abhaya mudra,wearing crown and turban(?)8cm high

£300-500

109A GANDHARA SCHIST RELIQUARY ANDTHREE OTHER ITEMSIndia (now Pakistan), 4th century and laterthe reliquary of tapered cylindrical formwith circular lid, and a bronze figure ofGanesha, a small green stone eroticcarving and an ancient gold fragment3cm high

£200-300

110A LARGE BRONZE FIGURE OF LAKSHMI Kerala, South-West India, 16th centuryStanding in samabhanga on a separatelycast circular lotus base, her right handholding a lotus which flowers at her rightshoulder, her left at her side, wearingelaborate headdress and jewellery, pleatedflowing skirt34.5cm high

ProvenanceSotheby’s London, 24 November 1986, lot32.

This figure appears to be a companionpiece to a bronze sold previously in theserooms. See 6 November 2014, lot 98. For avery closely related figure in the NortonSimon Museum, California, seePratapaditya Pal, ‘Art from The IndianSubcontinent’, no.227

£2500-3500

28

110

106 107 108 109


111111A HORSE AND RIDERRajasthan, India, 19th centurybronze, wearing elaborate trappings andblanket, the riding wearing turban, carryinga shield on his back, incised devanagariinscriptions on the horse’s body20.2cm

£300-500

112112A TOY HORSERajasthan, India, 18th/19th centuryBronze, of stylised form, wearing saddleand harness, his feet with loops for wheels(now missing)12cm high; 13cm long

£80-120

113113A BRONZE FIGURE OF NANDI BULL Probably Deccan, Southern India, 18thcenturyThe bull vehicle of Siva crouching on arectangular base, wearing blanket, bellsand trappings, a diminutive lingam in front7.5cm high

£120-150

114114KRISHNA AND RADHANepal, 19th centuryBronze, each standing on an openworklotus base, Krishna wearing a Himalayancrown and playing the flute (now missing)14, 11.5cm (2)

£150-250

115A LATE CHOLA BRONZE FIGURE OFAIYANARTamil Nadu, South India, 13th/14th centurySeated on a double lotus throne, his lefthand holding a staff, his left resting on hisknee, his long hair gathered and flowingdown behind his head, wearing crown andlarge earrings, the base and plinthseparately cast26cm high

ProvenanceAcquired by the vendor in London c.1980. At Spink and Son, late 1980s

Aiyanar is a deity only seen in thesouthernmost states of India, and as isoften the case, is likely to have been focusof an ancient local cult subsequentlyabsorbed into Hinduism. He is said tohave been born to Mohini, theenchantress, a female manifestation ofVishnu, and fathered by Siva. He carriesthe shepherd’s crook, anacknowledgement of his rural importanceas protector of villages.

£15000-20000

29

115


116116A BRONZE FIGURE OF GANESHANorthern Kerala or Karnataka, SouthWestern India, 15th/16th centurythe elephant-headed Hindu deity seatedon a rectangular base, holding his brokentusk in his right hand, using his trunk topick sweets from a bowl in his left hand,wearing tall tiered headdress, surroundedby an aureole with stylised flame motifs8.8cm high

The rectangular base and flame motifs onthe aureole are typical of Keralan bronzes,although the headdress and high coppercontent of the bronze are closer to Deccanistyles.

£1200-1500

117117A BRONZE FIGURE OF DANCINGKRISHNATamil Nadu, South India, 17th/18th centurythe youthful deity standing on one foot ona lotus base, his left hand raised, his rightholding a butter ball, his hair tied in a bun9.8cm high

£1000-1500

118118A VIRABHADRA PLAQUEMaharashtra, Western Deccan, India,18th/19th centurybronze, the four-armed deity standingunder a cusped arch surmounted bykirtimukha, holding khadga, shield, trisulaand damaru, flanked by Daksha and Sati30.8 x 20cm


Daksha offended Siva by not inviting himto attend a sacrifice following an earlieroccasion when Siva had slighted him.Sati, who was Daksha’s daughter, as wellas being Siva’s wife, was present and feltso insulted that she threw herself on thepyre. Then Siva appeared as Virabhadraand cut off Daksha’s head to avenge hiswife. Other gods pleaded for Daksha’s life,but although Siva decided to spare him,his severed head could not be found, sothe head of a goat was substitutedinstead. Daksha is depicted with hands innamaskara mudra, humbly payingrespects, while at the bottom, he appearsprior to the replacement head

£250-350

119

119A BRASS VIRABHADRA PLAQUEWestern Deccan, India, circa 18th centurythe four armed deity depicted in relief,wielding a sword, trident, noose andshield, flanked by diminutive figures ofDaksha and Sati17 x 11.7 x 2cm


Daksha offended Siva by not inviting himto attend a sacrifice following an earlieroccasion when Siva had slighted him.Sati, who was Daksha’s daughter, as wellas being Siva’s wife, was present and feltso insulted that she threw herself on thepyre. Then Siva appeared as Virabhadraand cut off Daksha’s head to avenge hiswife. Other gods pleaded for Daksha’s life,but although Siva decided to spare him,his severed head could not be found, sothe head of a goat was substitutedinstead. Daksha is depicted with hands innamaskara mudra, humbly payingrespects, while at the bottom, he appearsprior to the replacement head being fitted,while next to him is the headless goat.

£100-150

120120A BRONZE FIGURE OF VAISHNAVISouth India, circa 18th centurystanding on a lotus base, set onto anunrelated brass stand, the four armedgoddess with primary hands in varada andabhaya mudra, his upper hands holdingcakra and sankha10.5cm high


£300-400

30


121121A BRONZE SHRINE DEPICTING DURGAWestern India, circa 18th century the fourarmed goddess seated on a lotus, akhadga and patra, in her primary hands,her upper hands holding a damaru andtrisula, seated under a naga, a diminutivefigure of Ganesha and a devotee at her feet10cm high


£300-500

122122A BRONZE FIGURE OF VISHNUSouth India, circa 16th centurystanding on a circular base, the four-armed deity with a lotus flower in hisprimary right hand, held in varada mudra,his left resting on his gada (now missing),his upper hands holding cakra and sankha18cm high


£400-500

123123A BRONZE FIGURE OF BHAIRAVA South India, 18th/19th centurythe four-armed fierce form of Siva holdingvarious attributes, his vehicle the dogstanding at his feet7.8cm


£250-350

124124A BRONZE FIGURE OF SIVAMaharashtra, Western Deccan, circa 18thcenturyseated in the western manner on a throne,his legs loosely crossed, holding a tridentin his right hand, and a begging bowl inhis left, wearing cobras around his neck,his head surmounted by a lingam with afurther five headed cobra canopy above18cm high


£60-80

125125A SAIVITE RITUAL SPOONDeccan, Southern India, 18th/19th centurybrass, the large bowl of hemisphericalform, the handle with diminutive figure ofNandi and various other figures andobjects, bud finial46cm long


£150-250

126126RADHA AND KRISHNABengal, Eastern India, 19th centurybronze, the god depicted playing his flute(now missing), standing with legs crossedon a circular lotus base, his consortstanding holding a sweetmeat, both withsilver inlaid eyes23.5; 21cm high (2)


£550-650

31


127127A BRASS LINGAM COVERMaharashtra, Western India, 19th centurythe moustachioed face with traces of redpigment, his head with protruding earsand separately cast leafy crownsurmounted by a bud finial, his hair withtraces of black lac32cm high


£800-1200

128128A BHUTA BOAR-HEAD MASKKarnataka, Southern India, 18th-19thcenturywith large lozenge shaped eyes, wearingelaborate beaded trappings28cm long approx.; 22cm high


These masks are worn during ritualsinvolved with the worship of spirits whichtake various forms, including boars. Thebhuta (spirit) is invoked in order to helpand entertain villagers. For an example inthe Dallas Museum of Art, seehttps://www.dma.org/collection/artwork/asian/boar-bhuta-mask

£800-1200

129129A BRONZE RELIQUARY IN THE FORM OFA STUPASri Lanka, circa 16th/17th centuryof domed form, the faceted sides withstylised leaf borders above and below,surmounted by bud-shaped finial21.5cm high


£200-300

130130A LARGE SKANDA PLAQUESouth India, 19th Centuryof rectangular form, the four-armed deityhis primary right hand in abhaya mudra,his left resting on his staff, his secondaryhands holding a lotus and trident35 x 21.5cm


£250-350

131131A BRASS FIGURE OF NANDIWestern Deccan, circa 18th centuryseated on a rectangular base, withprominent horns, wearing bells around hisneck and back, a diminutive lingam infront, sheltered by a five headed cobracanopy23cm high


£400-600

132132A BRONZE FIGURE OF VISHNUSouth India, 18th centurythe four armed deity standing erect on aturtle with attributes in each of his hands,a diminutive figure of Garuda at his feet,his eyes inlaid with white metal20.7cm high


£600-800

32


133133A FEMALE ATTENDANTRajasthan or Madhya Pradesh, CentralIndia, 11th/12th centurybuff sandstone fragment from a relief,standing in a niche with her right legflexed, holding a chauri in her raised lefthand, mounted41cm high


£600-800

134

134A SMALL JAIN BLACK STONE STELEWestern India, dated samvat 1674(1618AD)depicting Padmavati and Parsvanatha, thefour armed yakshi seated holding variousattributes in her four hands, a figure ofParsvanatha above, both under multi-headed cobra canopies, flanked by pairsof standing and seated jinas, devanagariinscription, including date on the reverse20 x 12.5 x 5cm

Although Padmavati and Parsvanathaseem the most likely attribution, the birdemblem on the front of the yakshi’sthrone, is usually the emblem ofAnantanatha, the fourteenth tirthankara.

£1200-1500

135135A GANDHARA STUCCO HEAD OFBUDDHANorth-West Frontier Region, India (nowPakistan), 4th centurywith serene expression, his face withtraces of pigment, his hair in regularwaves, mounted9.5cm high

£200-300

136136A GANDHARA GREY SCHIST HEAD OF ABODHISATTVANorth-West Frontier Region, India (nowPakistan), 3rd/4th centurywith moustachioed face, wearing a turban,mounted14cm high

£400-600

137137A GANDHARA STUCCO HEAD OF ABODHISATTVANorth-West Frontier Region, India (nowPakistan), circa 4th centuryturned to the right, with sereneexpression, wearing a turban with floralclasps, mounted10cm high

£300-400

33


138

138A SHRINE GUARDED BY A PAIR OF MAKARASCentral India, Probably Madhya Pradesh, 10th/11th centuryBuff sandstone, in the form of a North Indian temple tower,surmounted by a musician and female attendant, mounted41.5cm high, 40cm wide, 21cms deep

ProvenanceSimon Ray Ltd. 2008Collection of the Late Bruno Cooper 2008-2012Thence by descent

Morley (Bruno) Cooper arrived in England from the USA in 1958on a scholarship to Cambridge. After a successful academiccareer mostly at the University of East Anglia, he transformedwhat had been an absorbing hobby, dabbling in antiques, into afull career. Trading in the Suffolk town of Long Melford, he quicklyestablished a reputation for the fine European furniture hestocked. Always restless, he eventually became bored thefurniture market; he closed the shop, and, from then on, exhibitedexclusively at international antique fairs where his reputationspread wider. His stock was characterised by his personaleclecticism; like a cabinet of curiosities. Towards the end of his life,his interests had focused increasingly on to Asia and Indiansculpture in particular. He died in August 2012.

£3000-5000

139

139A FRAGMENTARY ROUNDEL DEPICTING A GANDHARVACentral India, probably Madhya Pradesh, circa 11th centurypink sandstone, the flying four armed moustachioed deity wearinglarge disc earrings and crown, holding a garland in his primaryhands, holding a sword and shield in his other hands, mounted ongreen marble stand44 x 32 x 12cm

ProvenanceArt Market, New York, 1980sPrivate collection, London, 1980s-2007 Millner Manolatos, 2 Campden Street, London, October 2007 Collection of the Late Bruno Cooper 2007-2012Thence by descent(See footnote to lot 138)

In Hindu tradition, gandharvas flit through the sky, acting asphysicians to the gods and scattering flower petals from theirgarlands onto gods and heroes. For another gandharva figure ofsimilar date and from the same region, see Balraj Khanna andGeorge Michell, Human and Divine: 2000 Years of IndianSculpture, London 2000, p.73. For possible Vidyadhara attributionsee, Ronald M. Davidson; Indian Esoteric Buddhism: A SocialHistory of the Tantric Movement (2002, Columbia UniversityPress), pages 194-195.

£8000-12000

34


140140A KUSHAN HEAD OF A YAKSHAMathura, Uttar Pradesh, 2nd/3rd centurypink sandstone, the grimacing face with pronounced eyebrows and bared teeth, mounted on bronze stand22cm high

ProvenancePrivate collection, Zurich, acquired between 1945-1975Christie’s Amsterdam, 20-21 November 2007, lot 524Millner Manolatos, London, April 2008Collection of the Late Bruno Cooper 2008-2012Thence by descent(See footnote to lot 138)

For a yaksha figure with strikingly similar facial features in the Mathura Museum, see R. C. Sharma, The Splendour of Mathura: Art andMuseum, New Delhi 1994, p.107. Sharma describes the mysterious smile which is also evident in this example. Another yaksha, fromBareilly, can be seen in the National Museum, New Delhi (S.P.Gupta (ed.), Masterpieces from the National Museum Collection, New Delhi1985, p.33. These yaksha figures carried bowls on their heads which contained riches for Siva to distribute to his devotees, which explainsthe flattened head of this sculpture and that of the National Museum. The example in Mathura retains its bowl.

£2500-3500

35


141141A SANDSTONE RELIEF PANEL DEPICTING UMA-MAHESVARACentral India, 11th/12th centuryThe divine couple seated together in loving embrace, the four-armed Siva caressing his consort and holding attributes, while Parvatiholds a mirror in her upper left hand, flanked by a pair of vyalas and various diminutive devotees, apsarases above and below43cm

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

£6000-8000

36


142142A GANDHARA HEAD OF ABODHISATTVANorth-West Frontier Region, India (nowPakistan), 3rd/4th centurywith classical features, the waving hairtied in a loose topknot, mounted21cm high

ProvenanceRenzo Freschi Oriental Art, Milan, 2007Collection of the Late Bruno Cooper 2007-2012Thence by descent(See footnote to lot 138)

£2000-3000

143

143A GUPTA TERRACOTTA HEAD OFBUDDHACentral or Northern India, circa 5th centurywith plaited hair and headband, hisremaining ear with elongated lobe,mounted13.5cm high

Sold with a thermoluminesce certificatesupporting a 4th-6th century dating,produced by Arcadia of Milan, dated14.09.2005

ProvenanceCarlo Cristi Arte Orientale 2007Collection of the Late Bruno Cooper 2007-2012Thence by descent(See footnote to lot 138)

£1500-2500

144

144A GANDHARA STUCCO HEAD OFBUDDHANorth-West Frontier Region, India (nowPakistan), 4th/5th centurywith serene expression and bun-shapedusnisa, mounted14cm high

£200-300

145FIVE GUPTA TERACOTTA HEADSCentral India, circa 5th centuryEach with pronounced features andincised facial details, mounted on stands8cm high and smaller (5)

£300-400

146A GUPTA TERRACOTTA FEMALE BUSTCentral India, 5th/6th centuryWith prominent breasts, her right shoulderraised, wearing necklaces; and A GuptaTerracotta Fragmentary Lid or Finial, in theform of a seated female figure on waistedcylindrical base, the bust mounted on stand26cm high (bust); 22cm high (lid) (2)

ProvenancePrivate collection, London; acquired atSotheby’s London, 31 March 1982, lot 330(bust), lot 320 (finial)

£1000-1500

37

145 146


147

149

152

147A TERRACOTTA HEAD OF NANDIGupta, Northern India, 4th/5th centuryOf stylised form, a beaded strap aroundhis horns, collar round his neck, mountedon stand17cm high

£200-300

148AN IMPORTANT AND EXTENSIVECOLLECTION OF ANCIENT EARRINGSMostly Northern and Eastern India,Maurya-Kushan Period, circa 300BC-300ADcomprising 18 ivory ‘discal’ type earornaments with pierced centres, of varioussizes, with concentric groove decorationon one or both sides and waisted outeredge; 7 solid ivory ‘discal’ ornaments ofvarious sizes, each with concentric groovedecoration on one or both sides, five withwaisted, two with straight sides; 1 ivorycylindrical type ornament; 7 black andcoloured jasper ‘discal’ ornaments, withwaisted edges, plain convex sides on allbut one, with radiating carved grooves onone side; 2 crystal ornaments, one ‘discal’,one cylindrical; 1 spherical steatite bead; 6Burmese amber ornaments of uncertaindate, two of the ‘peg’ type, and fourcylindrical with red glass inlay; and a copyof Michel Postel, Ear Ornaments of AncientIndia included in the lotThe largest: 6.2cm diam, the smallest 1cmdiam.(43)

ProvenancePrivate British Collection, acquired mostlyin London during the 1990s

Postel (p.52-53), illustrates a group ofivory and bone earrings similar to severalin this lot. He states that ivory earrings areless common than those in stone andterracotta, and the examples he publisheswere found in Kausambi andChandraketugarh. For closely-relatedjasper earrings in a variety of colours, alsofrom Kausambi, see p.38f. Rock crystalearrings from Kausambi are illustrated onpp.39 & 51. Almost identical Burmese ‘pin’type ear ornaments are illustrated on p.98,but similar examples are also worn bytribes on the Indian side of the border(pl.A 12.9, p.297). For similar amber ‘peg’type ornaments, but without the inlay, seep.305; an old photograph on the samepage illustrates a Munda girl from Bihar,wearing this type.The amber earringsclearly exemplify a very ancient tradition,but it is difficult to be precise about whenthese actual ornaments were made.

£7000-9000

149DALA’IL AL-KHAYRAT BY AL-JAZULIOttoman, late 19th centuryBook of prayers, with illuminated headingsand two coloured illustrations of interiors ofthe Holy Shrines in Makkah and Madinah,bound in embossed leather, 69 leaves161 x 113mm

£200-300

150A FOLIO DEPICTING A SNAKEProbably Bijapur, Deccan, India, 16thcenturygouache with ink and gold on paper, froma dispersed treatise on astronomy, snakeson each side probably representing theconstellation Serpens, the stars marked ingold, 9 lines of text on one side and asingle line on the other, in Arabic withsignificant words in red, ruled margins212 x 145mm

£1000-1500

151TWO FOLIOS FROM TWO DISPERSEDMANUSCRIPTSIndia, 16th/17th centurycomprising an illuminated folio from amanuscript of Firdausi’s Shahnama,Bijapur, c.1610, 25 lines to the page writtenin four columns of elegant nasta’liq inblack ink, heading written in thuluth scriptin red on a gold ground, inner marginsruled in gold, outer borders of colouredpaper; and an illuminated folio from amanuscript of Persian poetry, on gold-sprinkled paper, text written horizontallyand diagonally in elegant nasta'liq scriptin black ink, illuminated corner pieces incolours and gold200 x 120mm, 183 x 113mm (2)

The page from Firdausi's Shahnama (Bookof Kings) is from the same dispersedmanuscript as four illuminated folios inthe current exhibition at the MetropolitanMuseum of Art, Sultans of Deccan India,1500-1700: Opulence and Fantasy, whichruns until 26th July 2015. The inventorynumbers of the folios in the museumcollection are: 1982.476.3, 1985.404.1,1983.354.1, 1985.405.1

£200-300

152A PERSIAN MANUSCRIPT FOLIOProbably Bukhara, 16th century and laterink with pigment and gold on paper, withilluminated headpiece over eleven lines ofnastaliq script, four two line columns ofscript below a further illuminated bandbelow, verso with later painting of a groupof elders in a rural landscape330 x 215mm approx.

£150-250

38


39

148

150 151


153153DEVI SEATED ON A TERRACERajasthan, probably Jaipur, mid-19thcenturygouache on paper, inscribed with label indevanagari, traces of a partially obliteratedinscription in English lower left corner,framed and mounted315 x 214mm

The inscription reads: kameshwara yayenamah, an invocation to Siva asKameshwara.

£400-600

154154RAMA AND SITA ON A TERRACEProbably Mewar, Rajasthan, early 19thcenturyink drawing on paper, margin ruled indouble red line255 x 204mm approx.

£200-300

155155A GROUP OF ELDERSPahari, North-Western India, circa 1800ink drawing with watercolour on paper,depicting six men seated around a table,each holding a rosary, inscribed withlabels in devanagari and islamic script,framed and mounted195 x 148mm (inside mount)

£300-400

156156A GROUP OF JAIN TEXTSWestern India, 18th/19th centuryeach with devanagari script, comprising achart with yantra, four folios from a Jainsutra, and two fragmentary folios524 x 514mm (yantra) and smaller (7-two of the folios stuck together)

£200-300

157157THREE ILLUSTRATED FOLIOS Rajasthan or Gujarat, 18th/19th centurygouache and ink on paper, each with textin devanagari, comprising a small paintingof Krishna reclining on the Ananta, a pagefrom a Jain book with trio of illuminationsincluding a monk with his broom, and afragment depicting two men inconversation120 x 245mm and smaller (3)

£150-250

158158FIVE COSMIC DIAGRAMS (yantra)Rajasthan, India, 19th centuryink on paper, one with polychromegouache and laid on cloth, each withroundel inscribed in devanagari640 x 710mm (5)

£100-150

159

40


159THREE MINIATURE PAINTINGSIndia and Persia, 18th century and latergouache on paper, comprising a Rajputhunting scene, a Pahari holi scene and aPersian couple listening to a musician174 x 255mm (3)

£60-80

160160A PRINCESS WITH HER THREE SONSProbably Lucknow, India, early 19thcenturyGouache with gold on paper, the group ina domed pavilion within a palacecourtyard, the orange border with islamicinscription at the top, mounted andframed177 x 104mm

£200-300

161

161A PORTRAIT OF A MUSLIM RULERDeccan, Southern India, 18th centuryGouache with gold on paper, wearinggreen brocade coat and turban, seated ona terrace with an attendant, mounted andframed243 x 167mm (inside mount)

£600-800

162162A THREE LEGGED DEITYPunjab, India, circa 18th centuryGouache with gold on paper, possiblyBhrngi, the three legged devotee of Siva,five other deities perched on the fingers ofhis upper right hand, his other hands withtrident, sword, and lotus, mounted andframed, with detached line of devanagarion the back115 x 150mm

£200-300

163163A LADY ON A WESTERN CHAIRProvincial Mughal, probably Lucknow,India, early 19th centuryInk, gouache and gold on paper, mountedand framed130 x 80mm inside mount

£600-800

164164PORTRAIT OF A LADYProvincial Mughal, Northern India, 18thcenturyGouache with gold on paper, laid on alater album page, the image surroundedby scrolling floral arabesque border,mounted and framed155 x 85mm (image)

£800-1200

165165KRISHNA PULLS KAMSA FROM HISTHRONEPahari, North-Western India, mid-19thcenturygouache with gold on paper, laid on woodpanel245 x 187mm

The story is told in the Bhagavata Purana,of how, Kamsa, king of Mathura, wasfinally slain by Krishna wielding anelephant tusk, before being dragged intothe River Jumna.

£400-600

41


166166PAHARI DRAWING OF AN ELEPHANTPunjab Hills, North-Western India, early19th centuryInk with gouache on paper, laid on afurther sheet of paper, a numeral (?)inscribed in left corner193 x 269mm

£500-800

167167LOVERS AT NIGHT TIMEBikaner, Rajasthan, India, 18th centurygouache with gold on paper, the couple inerotic embrace on a charpoy under thenight sky205 x 141mm

£400-600

168168LOVERS ON A TERRACEProbably Sirohi, Rajasthan, India, circa1700gouache with gold on paper, black paintedborder, the princely couple in eroticembrace217 x 124mm (image)

£250-350

169169ARI SINGH WITH RUPJIMewar, India, circa 1770Gouache with gold on paper, red border,framed235 x 185mm

Rupji was one of Ari Singh’s most faithfuldhabais (foster brothers) and is oftendepicted at his side.

£600-800

170170A WOMAN WITH A CATJaipur, India, early 19th centurygouache with gold and on paper, thewoman seated on a terrace, caressing thecat with her right hand, the imagesurrounded by concentric silver, blue andred border208 x 143mm

£200-300

171171AN EROTIC SCENEJaipur, Rajasthan, India, mid-19th centurygouache with gold on paper, depicting aprincely figure with his lover by a windowin a bedchamber, cursive devanagariinscription on old accounting paper on thereverse333 x 240mm

£200-300

42


172172KRISHNA AND THE GOPISMalwa, India, first half 18th centurygouache with gold on paper, the figuresstanding outside a palace, eight lines ofdevanagari script in red at the top,surrounded by scrolling floral border onred ground, two short lines of devanagarion the reverse323 x 257mm

£100-150

173173A SCENE FROM THE BHAGAVATAPURANAOrissa, Eastern India, 18th centurygouache on paper, depicting a processionof devotees, with captions in devanagari,seven lines of devanagari script below250 x 372mm

For another page probably from the sameseries, see Amy Poster, “Realms ofHeroism: Indian Paintings at the BrooklynMuseum”, Brooklyn, 1994, no.255. Seealso, Joachim Bautze: Lotosmond undLoewenritt: Indische MiniaturmalereiStuttgart, 1992, p.54

£200-300

174174A GROUP OF SEVEN PAINTINGS Pahari, North Western India, second half19th centurygouache on paper, from a religiousmanual, depicting a bull, a ram, a godriding a ram, crab, a wanderingmendicant, Krishna on Garuda, and a manwith scales, each captioned in reddevanagari script, further inscribed chartsand diagrams on the reverse of each155 x 127mm (folio) (7)

£300-400

175175A SCENE FROM A HINDU EPICProbably Bikaner, India, 18th centurygouache with gold on three small joinedsheets of paper, from a Hindu epic,depicting Krishna and Radha with theirfollowers being confronted by a heavilyarmed group of men, a panel of nastaliqcalligraphy on the reverse297 x 135mm

£300-400

176

176GOVIND DEV JIJaipur, Rajasthan, India, mid-19th centurygouache with gold on paper, the imageflanked by his two golden consorts, anddevotees in an arched niche, mounted255 x 180mm (main image)

The Govind Devji Temple in Jaipur is saidto contain the closest likeness to the godKrishna. The image was brought to the cityfrom Vrindavan by Jai Singh II

£150-250

177177KRISHNA AND THE GOPISJaipur, Rajasthan, India, mid-19th centurygouache on paper, the gopis carryingwaterpots, watched by their men folk, thegod accompanied by Balarama, mounted180 x 225mm

£300-400

178178A COURTESANJaipur, Rajasthan, India, second half 19thcenturygouache with gesso and gold on paper,reclining on a charpoy, smoking a huqqa,flanked by female attendants, mounted311 x 235mm (folio)

£200-300

43


179179A RULER ON HORSEBACKMewar, Rajasthan, India, first half 19thcenturygouache on paper, accompanied by anattendant on foot, devanagari inscriptionon the reverse, mounted255 x 203mm

£300-400

180180A LOVING COUPLEJaipur, India, second half 19th centuryGouache with gold on paper, the youngcouple standing at a window, mounted254 x 201mm (folio)

£120-150

181181A SCRIBE AT WORKNorthern India, 19th centurygouache on paper, red border, mounted230 x 145mm

£300-400

182182HINDU DEITIESPunjab, India, mid-19th centurygouache with gold on paper, the twopaintings depicting Siva and a scribe, andDurga on her lion with Krishna155 x 108mm

£150-250

183

183A RULER WITH HIS COURTIERSProbably Lucknow, first half 19th centurygouache with gold on paper, mounted187 x 370mm

£300-400

184184A HOLY MAN WITH ATTENDANTProvincial Mughal, Northern India, circa1800gouache with gold on paper, laid on card200 x 145mm

£100-150

185185YASHODA AND KRISHNABundi, Rajasthan, mid 19th centurygouache with gold on paper, depictingKrishna on his mother’s knee, watched byhis brother, Balarama, two lines ofdevanagari script on upper border,mounted110 x 160mm visible area

£120-150

44


186186YASHODA AND KRISHNAKotah, Rajasthan, mid-19th centurygouache on paper, depicting Krishna onhis mother’s knee, watched by his brother,Balarama, mounted175 x 140mm (main image)

£120-150

187187A DRAWING OF A MEWAR NOBLEMANRajasthan, circa 1800ink and gouache on paper, two lines ofdevanagari script above, mounted190 x 152mm approx.

£600-800

188188SCENE FROM THE BHAGAVATAPURANAOrissa, Eastern India, 18th centurygouache on paper, depicting devoteestending a ritual fire, five lines ofdevanagari script below247 x 370mm

ProvenanceChristie’s London, 1 April 1982, lot 114

For another page probably from the sameseries, see Amy Poster, “Realms ofHeroism: Indian Paintings at the BrooklynMuseum”, Brooklyn, 1994, no.255. Seealso, Joachim Bautze: “Lotosmond undLoewenritt: Indische Miniaturmalerei”Stuttgart, 1992, p.54

£300-500

189189FOUR RAJPUT DRAWINGSNorth-Western India, late 18th/early 19thcenturyink and watercolour on paper, laid on card,comprising a prince carried on a humanswing, a zenana scene, a ruler on a rearinghorse and a pair of fighting camels150 x 220mm and smaller (4)

£200-300

190190THREE INDIAN DRAWINGSNorthern India, late 18th centuryink on paper, each laid on backing paper,depicting a ruler with a flower, a vestigialdevanagari inscription above, a Pahariruler seated smoking a huqqa, and a priestholding a book(?), mounted200 x 120mm and smaller (3)

£300-500

191191TWO FOLIOS FROM AN EDITION OF THEBHAGAVATA PURANAProbably Mewar, India, 1600-1620in landscape format, gouache and ink onpaper, one double sided, each side withdevanagari text and illuminations to theright of the page, one depicting Krishnaresting with the cowherds, the othercranes and ducks by a waterfall; the otherfolio with two extra lines of devanagari ina different hand, probably added later, theillustration to the right showing Krishnaand his companions in a pavilion by theriver, teeming with fish175 x 345mm; 174 x 343mm

£400-600

45


192192PORTRAIT OF A WOMANProvincial Mughal, 18th centurygouache with gold on paper, laid on analbum page, with dual scrolling floralborder, the woman with curly black hair,drinking from a gold wine cup, oldinscription in French on the reverse273 x 180mm (folio)

£400-600

193193A HERMIT IS VISITED BY AN ANGELMandi, Punjab Hills, India, 18th centuryGouache with gold on paper, the hermitseated by a fire outside his hut, thewinged angel descending from the sky,bearing a gift (?), numerals in ink on thereverse106 x 171mm

£400-600

194194KRISHNA HIDES IN THE ROCKSRajasthan, India, circa 1800gouache with gold on paper, depictingKrishna and his companion hiding while agroup of men search in the rocky hills,some with faces of men and animals, adevanagari inscription in the upper borderand on the reverse120 x 167mm (image)

£100-150

195195RADHA SEPARATED FROM KRISHNAMewar, Rajasthan, India, 18th centurygouache on paper, probably from aragamala series, Radha depicted callingout for Krishna by the riverbank, while herlover waits in a rustic dwelling on theother side of the mountains, two lines ofdevanagari script on yellow ground at the top278 x 211mm

£600-800

196196KRISHNA PUTS ON HIS TURBANMewar, Rajasthan, India, 18th centurygouache on paper, probably from aragamala series, the god seated on athrone in a palace courtyard, accompaniedby attendants, one holding a mirror, twolines of devanagari script on yellowground at the top278 x 215mm

£600-800

197197A YOUNG PRINCEDeccan, Southern India, c.1700gouache with gold on paper, laid on card,indistinct collection stamp on the reverse145 x 88mm

£300-500

46


198198A PRINCESS FEEDS A PEACOCK ON ASTORMY NIGHTMewar, Rajasthan, India, 18th centuryGouache on paper, from a ragamalaseries, two lines of devanagari script onyellow ground at the top274 x 213mm

£700-900

199199A SCENE FROM A RAGAMALA SERIESAmber, Rajasthan, India, second half 18thcenturygouache with ink and gold on paper, laid on an album page, depicting aprincess with an attendant in a palace,while Krishna sits in an upstairsapartment, five lines of devanagari textabove on yellow ground282 x 156mm

£800-1200

200200SIVA RIDING NANDIRajasthan, early 19th centurygouache and black ink on paper, thinyellow border67 x 118mm

£120-150

201201A FOLIO FROM A JAIN SUTRAGujarat, Western India, 15th centurygouache and ink on paper, of horizontalform, the two columns comprising on theleft, thirteen lines of devanagari script,with extra lines of annotation andsignificant words in red, the right columnwith two illustrations, the reverse similarlyinscribed with text only107 x 255mm approx.

£200-300

202

202BHATI JUJHAR SINGH OF MOHIMewar, Rajasthan, India, second half 19thcenturygouache with gold on paper, carrying asword and shield, a katar and knife tuckedin his belt, inscribed on the reverse ‘BhatiJujhar Singhji of Mohi’, mounted235 x 163mm (image)

Private Collection The Thikana of Mohi issituated a few miles north of Nathadwarain Rajasthan

£400-600

203203PORTRAIT OF A NOBLEMANBikaner, Rajasthan, India, 19th centurygouache with gold on paper, the mandepicted leaning on a crutch, three lines ofdevanagari script and Bikaner royal stampon the reverse, mounted225 x 138mm (image)

£600-800

204204A PORTRAIT OF A RULERMewar, Rajasthan, India, first half 19thcenturygouache with gold on paper, the figureriding a bay horse, accompanied by threeattendants on foot, cursive devanagariinscription and other sketches on thereverse, mounted347 x 233mm (folio)

£1000-1500

47


205205A TANTRIC INSTRUCTIONAL SCROLL(pataka)Rajasthan, Western India, 19th centuryink and pigment on cloth, of longrectangular form, painted on one side withfigures of Ganesha, mythical animals anddevotees amidst charts and lists andnumerous lines of devanagari script, thereverse inscribed in devanagari205 x 21cm


£400-500

206A SMALL PICHHAVAIRajasthan, Western India, early 19thcenturypigment with gold on cotton, of horizontalrectangular form, with six scenes,depicting (clockwise from top left): Radhaand Krishna in a palace, Krishna andBalarama in conversation with twonoblemen, Krishna and Balarama enteringa palace, Krishna and Balarama inconversation with one of the noblemen,the nobleman leaving the city in a chariotand a meeting in the palace51.5 x 148cm


£2000-3000

207

207SRI NATH JINathdwara, Rajasthan, second half 19thcenturygouache on paper, the typical stylisedform of Krishna in dancing pose, withraised left arm holding a lotus265 x 142mm


£80-120

208208SRI NATH JINathdwara, Rajasthan, second half 19thcenturygouache on paper, the typical stylisedform of Krishna in dancing pose, withraised left arm, on yellow ground with red border231 x 142mm (image)


£80-120

48

206


209209THE CHURNING OF THE OCEAN(samudramanthana)Rajasthan, probably Bundi, 19th centurygouache on paper, depicting Vishnu onMount Mandara surrounded by otherdeities, pulling at Vasuki, king of the nagas295 x 409mm


This story of the creation is told in theMahabharata and some of the Puranas.

£200-300

210210SIVA SEATED ON A TERRACEProbably Jaipur, Rajasthan, India, mid-19thcenturygouache with gold on paper, the godseated on a tiger skin, resting against abolster290 x 280mm


£300-400

211211A MEWAR PORTRAIT OF A RULERRajasthan, probably Udaipur, late 18thcenturyGouache with gold and silver on paper,the figure depicted on horseback, holdinga javelin, two inscriptions in devanagarion the reverse, mounted and framed283 x 197mm (visible image); 335 x240mm (folio)

Provenanceformerly in the collection of Rudolf vonLeyden (1908-1983) patron and Art Critic ofThe Times of India, thence by descent.

£1500-2500

212

212KRISHNA VENUGOPALABikaner, Rajasthan, India, 18th centuryGouache with gold on paper, Krishna as ayoung man playing his flute whilestanding on a lotus in the river, his lefthand resting on a cow, framed 206 x 115mm (main image)

ProvenanceProperty of a Retired Diplomat, acquired inIndia during the 1950’s

£400-600

213213SIX PAINTINGS PROBABLY FROM ARAGAMALA SERIES Amber, Rajasthan, India, 18th centuryGouache with silver and gold on paper,each with devanagari inscription at the top,depicting a prince and princess goingriding, a princess having her feetmassaged, a prince leading his lover to hisbedchamber, the prince embracing his lovein a pavilion, and the princess sitting on abough listening to her lover playing musicIndividually framed 188 x 125mm each (6)

ProvenanceProperty of a Retired Diplomat, acquired inIndia during the 1950’s

£800-1200

214214THE TAJ MAHALCompany School, probably Delhi, late 19thcenturygouache with ink and bodycolour on card,mounted344 x 435mm

£400-600

49


215215VIEW OF PILGRIMS AT MECCAIndian School, circa 1900gouache with bodycolour on card342 x 432mm

£300-400

216216TWO AVATARS OF VISHNUTrichinopoly, South India, second half 19thcenturytwo gouache paintings on paper, depictingVamana and Kurma, English inscriptionsin pencil, reading ‘Dwarf Avatar’ and ‘FishAvatar’, framed280 x 185mm & 295 x 185mm (2)

£100-150

217

217KANCHENJUNGA FROM DARJEELINGAnglo-Indian School, 19th centuryMonochrome watercolour on paper,framed480 x 660mm

Until the mid-19th century Kanchenjunga,a mountain considered holy by localHindus and Buddhists, was thought to bethe highest in the world. At 28,169, it isabout 900 ft lower than Mount Everest anddominates the views from the hill stationof Darjeeling.

£600-900

218218TWO ARTISAN COUPLESCompany School, Patna, first half 19thcenturywatercolour on paper, comprisingbasketmakers and millers, framed185 x 150mm (2)

£300-400

219219ERNEST COSTINBritish School, Early 20th CenturyTwo South Indian Scenes, watercolour onpaper, mounted305 x 190mm (2)

£200-300

220220TWO INDIAN COUPLESCompany School, Malabar Coast, early19th centurytwo watercolours with ink and gold onpaper, each labelled in English, mounted130 x 195mm (main image) (2)

The inscriptions read: First woman: ‘Itteeor Poatty Ammah; None [probablyreferring to employment]’; First man:‘Potty; Heathen Priests’, Second man:‘Brahmin or Pauppan; Holding PublicEmployments and heathen priests andAstrologers’; Second woman:‘Brahmanathee or Papauthee; None’.

£300-400

220A

50


220AANGLO-INDIAN SCHOOLTwo dated 1904Four scenes near the North-West Frontierwatercolour on paper, framed as a set,each identified with inscriptions reading: i. Bahul, from Dak Bungalow, Takht-i-Suleiman, ii. Bahadur Kheyl, Wast. 4.12.04,iii. Bahadur Kheyl East, 4.12.04, iv. KohatFort, 30 Nov.180 x 250mm approx. each (4 in oneframe)

Takht-i-Suleiman, ‘Throne of Solomon’, isa name commonly used for flat toppedmountains in the Middle East and Asia.Here it refers to a well known peak in theTribal Areas of modern Pakistan. BahadurKhel is a district known for its salt minessince British times, in the Khyber region.Kohat was an important military base inBritish times with the fort at its heart, builtin the early 19th century.

£400-600

221221FOUR INDIAN CHARACTERSCompany School, Patna, Eastern India,circa 1800watercolour on paper, each captioned inEnglish, comprising A Mussulman,Hookah bardah, Nautch girl or Dancinggirl and another of a man (captionillegible), each mounted250 x 175mm (average size) (4)

£400-600

221A221AANGLO-INDIAN SCHOOLLate 19th centuryA BungalowWatercolour on paper, framed185 x 285mm

£300-500

222222TWO INDIAN COUPLESCompany School, Trichinopoly, SouthIndia, early 19th centurywatercolour on paper, each captioned inEnglish, comprising A Barber’s Wife, ABarber, A Brahmin’s Wife, and A Brahminmounted in two groups143 x 118mm approx each (4)

£200-300

223223FOUR INDIAN COUPLESTanjore, South India, early 19th centurygouache on paper, comprising a barberand his wife, a painter and his wife andtwo priests with their wives, mountedseparately252 x 200mm (visible area)

£600-800

224224TWO INDIAN CHARACTERSCompany School, Lucknow or Patna, mid-19th centuryWatercolour on paper, comprising anautch girl on a veranda, and a Parsi mancarrying a basket, mounted and framed200 x 160mm; 180 x 125mm (insidemount)

£400-600

51


225225FIVE STUDIES OF AGRA INLAY WORKCompany School, Delhi or Agra, mid-19thcenturyWatercolour on paper, each depictingfloral pietra dura designs from the TajMahal, mounted and framed spearately180 x 130mm (inside mount) and smaller(5)

£400-600

226226TWO INDIAN CHARACTERSCompany School, Lucknow or Patna, mid-19th centuryWatercolour on paper, one depicting asleeping scribe, the other a water-seller,mounted and framed158 x 109mm; 143 x 108mm

£250-350

227

227TWO COMPANY SCHOOL PAINTINGSOF AGRA TOMBSAgra or Delhi, early 19th centurywatercolour on paper, each showing atomb at Agra decorated with pietra durainlay work, one with stylised floral designsthroughout, the other with a frieze ofthuluth script on the upper section256 x 357mm; 247 x 352mm approx (2)

£600-800

228228A ROSEATE TERN AND A FEMALE‘PITTA’Company School, Patna, India, early 19thcenturygouache on English paper, each birdlabelled in devanagari and islamic script310 x 203mm (max dimension of folio)

£150-250

229

229TWO PORTRAITS OF INDIAN RULERSNorthern India, late 19th centurycomprising a painted photograph ofMaharaja Sawai Ram Singh II of Jaipur,depicting the moustachioed figurewearing a blue coat, seated on a gilt chair,holding a jewelled sword, the other agouache portrait of a bearded figurewearing spectacles, seated on anupholstered chair, framed550 x 395mm approx. each

£500-800

230230A TURKISH LADYGujarat, Western India, 19th centuryreverse painting on glass, the womandepicted wearing a pink tunic and bluesash, a tiara in her hair, framed50 x 35cm

Reverse glass painting was a techniquefirst seen in China. During the 18thcentury, paintings made for the Indianmarket started to be produced, and by the19th century, Indian artists near thetrading posts of Cutch had also begun topaint on glass.

£300-500

52


231231A KALIGHAT PAINTING DEPICTINGPARASHURAMACalcutta, Eastern India, 1870-80gouache with silver paint on paper,inscribed in Bengali and English at thebottom, framed390 x 270mm

ProvenanceEyre and Greig, circa 2000

Parashurama ‘Rama with the axe’ isdescribed in conflicting stories, but is bestknown as the sixth avatar of Vishnu. He isdepicting here killing one of the Kshatriyaswho had disrupted the social order.

£300-500

232232PORTRAIT OF A NOBLEMANRajasthan, Western India, 19th centurygouache with gold on paper, the plumpfigure depicted seated at a balcony,framed330 x 230mm (image)

£600-900

233233B. MAJUMDARIndia, 20th centuryBengal village scene, oil on canvas305 x 410mm

£600-800

234234A YOUNG FLAUTISTBengal School, Eastern India, 1910-1920watercolour on paper, mounted301 x 201mm

£200-300

235

235PORTRAIT OF A MAHRATTA RAJACentral India, second half 19th centurygouache with gold on paper, mounted370 x 305mm

£250-350

236236A PRIEST WITH ATTENDANTSNorthern India, late 19th centurygouache with gold on paper, the elderlyfigure seated cross-legged in an interiorwith two male attendants, an inscribedplacard in front, mounted355 x 260mm

£200-300

237237A SIKH COURT SCENENorth India, probably Delhi, 20th centurydepicting a ruler on a terrace, flanked byattendants and noblemen, a veena playerin the foreground, framed500 x 685mm

£600-800

53


238

239

240

238WOLFRAM ONSLOW FORD (British1879-1956)Portrait of a Young Indian PrinceOil on board, signed W. ONSLOW FORD atthe bottom, framed450 x 330mm

For a similar portrait by the same artistsold recently, see Christie’s SouthKensington, 22nd January 2013, lot 681

£1200-1500

239A COURTESANWestern India, probably Gujarat, 19thcenturyreverse painting on glass, framed41.2 x 33.5cm


£600-800

240TWO GENTLEMENThe Indian Art Studio, Bombay, early 20thcenturyPhotographic studio portrait, framed283 x 230mm


£120-150

241A LARGE LACQUERED AND GILDEDBRONZE FIGURE OF BUDDHABangkok, Thailand, late 19th centuryseated in sattvasana with hands inpadmasana, wearing brocaded robes, withlong earlobes and tightly curled hair, hiseyes with mother-of-pearl inlay, his headwith domed usnisa80cm high

£4000-6000

54

241


242242A GILT-LACQUER FIGURE OF BUDDHABurma, 19th centuryseated in padmasana on a lotus throne,his hands in bhumisparsa and dhyanamudra24.5cm high

£200-300

243243A BAYON VOTIVE PLAQUECambodia, late 12th/early 13th centuryMoulded terracotta, in the form of ashrine, with central figure of Hevajra, tiersof diminutive deities above and below,mounted15.2 x 8 x 2.5cm

For a bronze die, made to produce almostidentical votive plaques, see 7-10 April2014, lot 109

£150-250

244244AN ANGKOR WAT HEAD OF A DEITY, PROBABLY VISHNUCambodia, second half 11th centurygrey sandstone, wearing elaborate flared crown and conical headdress, the decorationand face with incised details, mounted on Welsh slate stand

For a complete figure in closely related style from Siem Riep, see Madelein Giteau, KhmerSculpture, Thames and Hudson, London, pl.37

ProvenanceBruckmann Collection, London, Acquired in 1960s. (A valuation of this sculpture forinsurance purposes prepared by Spink and Son in June 1969 on behalf of Mr. Bruckmannis included with this lot)Collection of the Late Bruno Cooper 2011-2012Thence by descent(See footnote to lot 138)

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

£3000-4000

55


245AN ANDESITE FIGURE OF GANESHAJava, Indonesia, 9th/10th centuryThe plump elephant-headed four armedHindu deity seated on a double lotusthrone, feeding himself sweets with histrunk out of his left hand, his hair gatheredin a bun with a band68cm

ProvenancePrivate collection, London. Acquired fromthe Swedish dealer and collector MaxWillborg (1933-2001) in 1969/70.

ExhibitedSpink and Son, London, 1978 (illustratedin catalogue, no.147).

£4000-6000

246246TEN PUJA SPOONSSouth India, 17th/18th centurybronze, each with circular bowl andslender shaft, six with finials in the form ofdancing Krishna, one with adorsed figuresof Hanuman and Garuda, one in the formof a cobra canopy, one in the form ofLakshmi-Narayana and the other in theform of a Vaisnavite saint(?)17cm and smaller (10)


£600-800

247247SIX PUJA SPOONSIndia, circa 19th centurycomprising three bronze and two brassspoons with cobra finials, the other ofbrass with bud finial, the bowl with a pairof adorsed parakeets22.7cm and smaller (6)


£200-300

248248SEVEN PUJA SPOONSIndia, 19th/early 20th centurybrass, two with circular bowls and finialsin the form of Krishna, three with figuresof Ganesha, one with abstract decoration,the other with egg-shaped bowl andGaruda finial16.7cm and smaller (7)


£200-300

56

245


249249A GANGAJUMNA LOTATanjore, Tamil Nadu, South India, early19th centurycopper with brass inlay, with incisedstylised floral decoration16.2cm high


£300-400

250250A PUJA POT AND SMALL SPITOON(?)Tanjore and Kerala, 19th centurythe ‘swamy’ work puja pot of brass withcopper applique, of octagonal form, thesides with images of avatars of Vishnu inlow relief, the spitoon of turned circularform, with faceted sides and overhangingrim7cm high and smaller (2)


£200-300

251251TWO GANGAJUMNA POTSDeccan, Southern India, 19th centurybrass with copper inlay, each of roundedform, the sides with incised and inlaidstrip designs9, 8.2cm high (2)


£150-250

252252THREE PUJA STANDSIndia, 18th/19th centurybrass, in the form of miniature tables, thelarger with openwork raised edge4.5 x 13 x 11cm and smaller (3)


£60-80

253

253FOUR BRONZE BOXESIndia, 18th-19th centuriescomprising a rectangular jewellery casket,and three cylindrical limepots15.5 x 15.5 x 15cm and smaller (4)

ProvenanceFrom the collection of the late SandyMorton

£200-300

254254A BRONZE LOTAKerala, 18th/19th centurybulbous body and ridged sides, scrollingspout, standing on flared foot18cm high

£100-150

255255A LUCKNOW ENAMEL HUQQA COVEREastern India, circa 1800in two sections, silver-gilt, of bulbousform, with incised openwork andpolychrome enamel decoration depictinghunting scenes in a forest setting, thedomed pierced lid with hamsa finial13cm high

The enamel work of Lucknow, with itsmultiplicity of colours and combinationwith incised and gilded silver is one of themost admired later Mughal luxury crafts.For another section of a huqqa, and acomplete ensemble, see Stephen Markeland Tushara Bindu Gude (ed.), The Art ofCourtly Lucknow. Los Angeles CountyMuseum of Art 2010, p. 208 & 209

£1000-1500

57


256256A SILVER-GILT BAZUBANDNorthern India, 18th centurythe central octagonal medallion openingas an amulet box, flanked by two hingedbud elements10cm long, mounted on stand

ProvenancePrivate collection, JapanMillner Manolatos, London 2009Private collection, Scotland

£200-300

257257A MUGHAL BRASS EWERProbably Lahore, Punjab, India (nowPakistan), 18th centuryOf pear shaped form, on four bracket feet,with stylised layered foliate design in lowrelief, the incised detail inlaid with zinc(?)and black lac, the scrolling handle withbud finial, the straight spout with chevrondesign25cm high

For a related ewer, see Mark Zebrowski,‘Gold, Silver and Bronze from MughalIndia’, no.228

£300-500

258258A STEEL FLINTSTRIKERDeccan, Southern India, 18th centurythe ends in the form of makara heads,linked with elephant head14cm long

£300-400

259259A SILVER BETEL BOXMalaysia, late 19th centuryIn the form of a pumpkin, the lobed sidesdecorated with alternating panels of leafand lozenge designs20.5cm high

£200-300

260

260A BRASS SPOUTED WATER POT (lota)Deccan, Southern India, 18th centuryThe bulbous ribbed body on rim foot, thewaisted neck with overhanging rim,ithyphallic spout16.5cm high

The phallic form of the spout indicates thisvessel’s ritual use in the cult of Siva

£200-300

261261AN INCISED COPPER BOWLDeccan, India, 17th centuryOf squat form, with bulbous body andwaisted neck and overhanging rim, theneck with a band of islamic calligraphy,the body with arabesque decoration anddedicatory cartouche(?)

11.7cm high; 27.5cm wide

£400-600

262262A BIDRI SALVERDeccan, Southern India, early 19th centuryAlloy, inlaid with silver, the decorationcomprising a central floral medallion,surrounded by a radiating floral trellis, thecavetto with stylised acanthus

19.3cm diam

£150-250

58


263263A BRASS TURBAN BOXNorthern India, circa 1800Of broad tapered circular form, the hingeddomed lid with lotiform central medallion,the exterior profusely decorated withanimals, figures and birds amidst scrollingfoliage18cm high; 29cm diam

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

£150-250

264264AN IRON AXE-HEAD (zaghnal)India, circa 17th centurysteel, of blade of tapering curved form, a pair of adorsed lions at the base andelephant on the pean, a square slot forshaft attachment25.5cm long

For an almost identical complete zaghnal,see George Cameron Stone, A Glossary ofthe Construction, Decoration and Use ofArms and Armour in All Countries and inAll Times, Portland, ME, 1934, fig.874-4

£800-1200

265265A DECCANI KATARSouthern India, 17th centurywith tapered steel blade, the hilt in theform of a double bar with twincrosspieces, the openwork bars and bladeattachment plates decorated withVaisnavite avatars, traces of gilding andsilvering on hilt, later red velvet scabbard43cm long

£2000-3000

266266A BRONZE MIRRORWestern India, late 19th centuryin the form of an openwork architecturalfacade, with mirrored central openingsurmounted by a cusped arch, flanked byjali windows, inscribed in devanagari atthe bottom: Nand Kishore Devi KeCharano Me(“Nand Ksihore has donated this to theDevi’s temple”)51.5 x 43.5cm

£800-1200

267267A COPPER REPOUSSE VOTIVE PLAQUEHimachal Pradesh, northern India, 19thcenturyIn the form of a columnar niche withcusped arch, depicting a sivalingam onyoni base, a figure of Nandi in front,flanked by devotees, a row of furtherdevotees below, mounted on stand8 x 5.7cm

£80-120

268268A LARGE PAIR OF BETEL CUTTERSNorthern India, late 19th centurybrass, with iron cutter blade, in the form ofa man and stylised woman(?) in sexualcongress, the sides with incised designs,the man with beard, and hair tied in a bun25.5cm high


£60-80

59


269269A PAIR OF BRASS CHILD’S SANDALS(paduka)Probably Western India, 18th/19th centuryon raised bracket supports, each withsingle lotiform toe grip, traces of incisedstylised foliate decoration9cm high; 17cm long (2)


£150-250

270270A DECCANI BRONZE OIL LAMPSouthern India, circa 16th centuryin the form of a bird, small spout below itschest, a hinged wick holder below its feet,with incised stylised feathers, asuspension chain attached by loop on itsupper neck45cm high (including chain); 25cm long


The tradition of zoomorphic vessels fromIslamic India, most commonly lamps oracquamaniles in the form of birds, derivesfrom Middle Eastern objects, the earliestexamples dating from AbbasidMesopotamia. For the early prototypesand examples from India, see MarkZebrowski, Gold, Silver and Bronze fromMughal India, London 1997, p.96ff

£300-500

271271A LARGE LINGAM COVERWestern Deccan, Probably Maharashtra,19th centurycast brass, in the form of a domed head ofSiva, wearing cobra earrings, amuletpendant and neat turban, his face withscrolling moustache, a third eye on hisforehead28cm high


£1200-1500

272272A BIDRI TRAYDeccan, Southern India, circa 1800alloy inlaid with silver, of elongatedoctagonal form, with raised rim, decoratedwith a reticulated lotus design, around acentral arabesque and lotus medallion 29.5 x 22 x 1.5cm


£800-1200

273273SIX INLAID METAL PLATESIndia, 19th century comprising a koftgari plate, iron with goldand silver damascene decoration, foliatedrim; three Lucknow bidri plates, alloyinlaid with silver, with fish and flowermotifs in relief; and two Deccani bidridishes, with geometrical, foliate and birddesigns19.5cm diam. and smaller (6)


£400-600

274274A BRONZE AND STEEL DAGGERDeccan, Southern India, 18th centurythe hilt in the form of a parakeet23cm long


£250-350

60


275275A MUGHAL BRONZE EWERNorthern India, circa 18th centuryof pear-shaped form, with scrolling handleand semi-faceted strait spout, hingeddomed lid, standing on four shallowbracket feet, the sides with vestigialincised decoration, an inscription inBengali(?) on one side28.5cm high


£200-300

276276AN OIL LAMP AND A SMALL POTKerala; Lahore, 19th; 17th centurythe lamp of turned brass, in two sectionswith bayonet attachment, the upper partinscribed in malayalam; the pot of bulbousform with zinc inlaid arabesque decorationon the sides31cm; 6.6cm (3)

£200-300

277277TWO LURISTAN BRONZE BRACELETSPersia, 8th/7th century BCThe larger of flattened circular sectionwith ridge decoration around the edges,the other of open circular form, withincised chevron designs12cm, 11cm diam. (2)

£150-200

278278FIVE METAL BIRDS AND FISHIndia and Persia, 19th centurycomprising two Qajar steel birds, anIndian brass hamsa, an Indian brass crowon circular base, and an Indian brasspowder flask in the form of a fish16cm long and smaller (5)

£200-300

279

279A LUCKNOW ENAMEL HUQQA COVEREastern India, late 18th centurysilver-gilt enamel, of bulbous form, withincised openwork and polychrome enameldecoration depicting animals amidstdense vegetation, the domed lid withpeacock finial, six crescent-shapedsimilarly decorated pendant ornamentswith bells attached with chains to the neck15.5cm high (excluding chain andpendants)

ProvenanceProperty of a Lady, London

The enamel work of Lucknow, with itsmultiplicity of colours and combinationwith incised and gilded silver is one of themost admired later Mughal luxury crafts.For another section of a huqqa, and acomplete ensemble, see Stephen Markeland Tushara Bindu Gude (ed.), The Art ofCourtly Lucknow. Los Angeles CountyMuseum of Art 2010, p. 208 & 209

£1200-1500

280280TWO BRONZE OFFICIAL’S SEALSMughal India, dated AH 1240(?)/AD 1824-5;AH 1177/AD1763-4Each of conical form, the earlier withfaceted sides, each with loop attachmentat the tip, the stamp plate reverseinscribed in nastaliq script 4cm, 4.5cm high (2)

The inscriptions read: ‘mohr-e niyabat-ekarim al-din khadem-e shar’ qadi al-mu’tasim bi-fadl allah al-matin 1177 sana4’; “The seal of deputyship of Karim al-Din, servant of the law, the judge whoholds steadfast onto the strong favour ofGod, 1177 (regnal) year 4”. The other reads‘mohr-e niyabat-e salah al-din khadim al-shar’ qadi’ al-mu’tasim bi-habl allah al-matin 1240 (?)’; “The seal of deputyship ofSalah al-Din, servant of the law, the judgewho holds steadfast onto the strong ropeof God 1240 (?)”.

£150-200

61


281281A SET OF GILT HORSE DECORATIONSCentral Asia, circa 13th centuryEach with repousse design in relief, two inthe form of a rosette, three in the form ofquatrefoil floral medallions, one in theform of a palmette, two in the form ofcrescents, the remaining twelve ofbutterfly shape, display box3.1cm diam and smaller (18)

ProvenanceFrom a private collection formed in the1950s, inherited by the vendor in 1986

£800-1200

282282A SILVER HINDU SHRINEDeccan, Southern India, late 19th centuryin the form of a lotus flower, with eighthinged petals each with a repousse deity,including Vishnu, Brahma and Indra,inscribed in Telugu, arranged around acentral yoni set on an inscribed yantra25.5cm max diam.


£120-150

283283A BRASS PALANQUIN FINIALProbably Deccan, Southern India, 19thcenturybrass, in the form of a makara head, withscrolling trunk, large fangs and projectingtusks, the cylindrical body separately castwith ridged and stylised leaf decoration38cm long


£600-800

284284A BRASS ALAMProbably Deccan, Southern India, 19thcenturyof typical form, with pierced and inciseddecoration, the base with socket for pole72cm long


£120-150

285285AN ARMENIAN BRASS SCRIBE’S BOX(QALAMDAN)Eastern Anatolia, 19th centurythe long rectangular pen compartmentwith hinged lid, surmounted by a crownfinial, the waisted inkpot, with hingedopening in the form of a scallop, withincised leaf decoration and line ofarmenian script running along the top25cm long


£120-150

286286A TURQUOISE GLAZED TILEPersia, 13th/14th centuryglazed fritware, of rectangular form, a lineof applique relief Arabic lettering28 x 33cm

The inscription is part of Surat al-Ikhlas(Qur’an 112), verses 3 -4[lam] yalid wa lam yu[lad]‘[He neither] begets nor is born’

ProvenanceSaeed Motamed, Frankfurt

£1500-2000

62


287287TURQUOISE GLAZED TILEPersia, 13th/14th centuryglazed fritware, of trapezoidal form,applique relief Arabic lettering27 x 25 x 2.5cm max. dimensions

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

ProvenanceSaeed Motamed, Frankfurt

£700-900

288A GROUP OF DIYABAKIR BORDER TILESOttoman Anatolia, late 16th centurypolychrome underglaze painted fritware,the design forming a repeated pattern ofinterlinked split palmettes held by ‘Italianclasps’ and interwoven with arabesques,each with ropework and plain turquoiseedging, framed as a panel29.5 x 101cm (together), individual tilesvarious lengths, 14.5cm high

There are tiles of the same design in thePotteries Museum, Stoke on Trent (311P52)and the Powerhouse Museum, Sydney,Australia A9636-19

£1200-1500

289289TWO QAJAR TILE PANELSPersia, mid-19th centuryPolychrome-glazed cuerda seca terracotta,framed in two groups of twelve, eachdepicting a vertical row of classicalcartouches containing portraits of youngprinces and princesses, on yellow groundfilled with rose motifs116 x 29cm (each panel excluding frame)(2)

£3000-4000

290290TWO IZNIK BORDER TILESOttoman Turkey, mid-17th centuryUnderglaze painted fritware, each withscrolling floer and saz leaf design, with redand turquoise details on cobalt ground 12.8 x 25.5cm; 12.8 x 24.5cm

£500-700

291291A QAJAR CUERDA SECA TILE PANELPersia, 19th centuryPolychrome glazed earthenware, the eighttiles framed as a group depictingSagittarius within a cartouche, surroundedby floral motifs31.5 x 65cm panel excluding frame

£1500-2500

63

288


292292A QAJAR POLYCHROME GLAZED TILEPersia, mid-19th centuryOf square form, depicting a bird pecking ata rose, next to an ornamental urn, twinprojecting attachments and a positioningmark on the reverse 19cm square approx

£250-350

293293A PANEL OF SIXTEEN TILESTunisia, 18th centuryGlazed terracotta, decorated with repeatedmedallion and floral lozenge design,framed 34 cm approx square (together)

For four tiles from the same group in aprivate collection in Paris, see Alain andDalila Loviconi: ‘Faiences de Tunisie’, Aixen Provence 1994, p.124 (lower right)

£300-500

294294FOUR ‘DOME OF THE ROCK’ TILESOttoman Syria, mid-16th centuryblue and white glazed fritware, each withcentral diagonally positioned splitpalmette surrounded by scrolling floralmotifs19.5cm square approx. each (4)

The design of these tiles has Timuridorigins, and was first seen on the Ottomanera restorations of the Dome of the Rock inJerusalem, which was undertaken byPersian craftsmen. They probably movedon to Syria when their work was complete,as is suggested by the number ofbuildings in Aleppo with tiles of thisdesign.

£700-900

295

295A MONUMENTAL MULTAN VASEPunjab, India (now Pakistan), circa 1880earthenware, blue and turquoise paintedon white ground, in the form of a classicalamphora, with floral and acanthusdesigns, twin scrolling handles90cm high

£250-350

296296A CANAKKALE EWEROttoman Anatolia, 19th centurybrown glazed earthenware, of bulbousform, with typical zoomorphic spout anddual twisted handle, the body with appliquestylised floral decoration, the surface of theglaze painted with tulip motifs37cm high

£200-300

297297A QAJAR BLUE AND WHITE JARPersia, 19th centuryunderglaze blue painted fritware, on whiteground with black outlines, depicting twopairs of men taking refreshments in agarden setting, surrounded by lush plants,animals and birds, stylised floral registeron shoulder and lower body33.5cm high

£200-300

64


298

300

298A QAJAR POLYCHROME VASEPersia, late 19th centuryunderglaze painted fritware, on whiteground, outlined in black, the sidesdecorated with birds perched on floral stems29cm high

£100-150

299A QAJAR MOULDED TILE DEPICTINGREVELLERSProbably Teheran, Persia, Second half 19thcenturypolychrome-glazed fritware, of rectangularform, the four figures in relief in a landscapesetting on white ground, amidst flowers,with houses and hills in the distance, one ofthe men playing a mandolin while hiscompanion holds a parasol, one of thewomen dancing to the music while theother drinks wine, raised floral border withbirds perched on floral branches above32 x 36.2cm

This and lots 300-303 in this auction wereformerly set into an overmantel in thedrawing room of a house in Scotland

£1000-1500

300A QAJAR MOULDED TILE DEPICTINGREVELLERSProbably Teheran, Persia, Second half 19thcenturypolychrome-glazed fritware, of rectangularform, the four figures in relief in alandscape setting on white ground, amidstflowers, with houses and hills in thedistance, one of the men playing amandolin while his companion holds aparasol, one of the women dancing to themusic while the other drinks wine, raisedfloral border with birds perched on floralbranches above32 x 35.5cm

This and lots 299, 301-303 in this auctionwere formerly set into an overmantel inthe drawing room of a house in Scotland

£800-1200

301A QAJAR MOULDED TILE DEPICTINGREVELLERSProbably Teheran, Persia, Second half 19thcenturypolychrome-glazed fritware, of rectangularform, the four figures in relief in alandscape setting amidst flowers andpavilions, with hills in the distance, one ofthe men playing a mandolin while hiscompanion holds a parasol, one of thewomen dancing to the music while theother drinks wine, raised floral border withbirds perched on floral branches above31.5 x 37cm

This and lots 299, 300, 302 & 303 in thisauction were formerly set into anovermantel in the drawing room of ahouse in Scotland

£1000-1500

65

299 301


302302A QAJAR TILE DEPICTING A MOTHERAND CHILDProbably Teheran, Persia, second half 19thcenturyunderglaze polychrome-painted fritware,the central mother and child flanked by anbearded man showing a duck to the childand a female attendant, hills and buildingsin the distance29 x 39.5cm

This and lots 299-301, 303 in this auctionwere formerly set into an overmantel inthe drawing room of a house in Scotland

£800-1200

303303A QAJAR MOULDED TILE DEPICTINGREVELLERSProbably Teheran, Persia, Second half 19thcenturypolychrome-glazed fritware, of rectangularform, the four figures in relief in alandscape setting amidst flowers andpavilions, with hills in the distance, one ofthe men playing a mandolin while hiscompanion holds a parasol, one of thewomen dancing to the music while theother drinks wine, raised floral border withbirds perched on floral branches above32 x 36.5cm

This and lots 299-302 in this auction wereformerly set into an overmantel in thedrawing room of a house in Scotland

£700-900

304304A GLASS SCENT BOTTLEBohemia, for the Ottoman Market, 19thcenturyclear blown glass with etched and gildedfloral decoration, the body with appliquecobra coiled around the sides, bud shapedstopper15cm high (with stopper)

£80-120

305305A SIND GLAZED POTTERY TILEWestern India (now Pakistan), 18th centuryof square form, painted in cobalt andturquoise blue on white ground with acruciform floral star design15cm square

£150-250

306306A YELLOW-GREEN GLASS BOTTLENishapur, Persia, 9th/10th centuryMould blown, with stylised floral reliefdecoration on the sides, with flared ridged neck20cm high


£600-800

307307A KASHAN MINIATURE PILGRIM FLASKPersia, 13th/14th centuryTurquoise glazed fritware, of disc shapedform, the cylindrical neck with flaredopening, flanked by a pair of loop handles,each side with a trio of firing spur marks14.8cm high


£100-150

66


308308AN IZNIK DISHOttoman Turkey, late 17th centuryGlazed fritware,with floral border, thecentre with stylised pavilion containing aflowering plant, old label on the reverse24.3cm diam; 5cm high

£250-350

309309A SAFAVID CUERDA SECA TILEPersia, 17th or early 18th centurybuff earthenware, of square form, withpart of an inscription in cobalt, turquoise,yellow and manganese on white ground23.5cm square

ProvenanceCollection of the late Saeed Motamed,Frankfurt

£500-700

310

310AN EARLY IZNIK BLUE AND WHITE TILEOttoman Anatolia, 1540-45of rectangular form, the designcomprising a cartouche with interwovenfloral and palmette motifs in blue andturquoise on white ground19 x 27.5cm

This is from a group of dispersed tileswhich, following recent excavations, havebeen linked to the Çinili Hamam (TiledBath-house) in Istanbul, built byBarbarossa towards the end of his life anddesigned by the famous court architect,Sinan. Similar tiles were made during thesame period for the imperial palace. For aclosely related tile in the Victoria andAlbert Museum, seehttp://collections.vam.ac.uk/item/O224078/tile/

£400-600

311311A DAMASCUS TILEOttoman Syria, circa 1570-80glazed fritware, underglaze painted incobalt, turquoise and apple green onwhite ground with black outlines, withcentral lotiform medallion, surrounded bysmall flower-heads, and further partmedallions, mounted27cm square

ProvenanceCollection of the late Saeed Motamed,Frankfurt

Identical tiles forming a pattern ofrepeated medallions, can be seen in theprayer hall of the Darwishiyya Mosque,Damascus (completed in 1575)

£1000-1500

312312A LATE QAJAR TILE DEPICTING JESUSCHRISTPersia, circa 1900fritware, underglaze transfer printed andpainted, Christ depicted holding theQur’an, inscribed in Greek and Arabic withthe verse of light (Surat an-Noor)33 x 22.8cm

For another tile depicting the samesubject, see Christie’s South Kensington, 3 April 2009, lot 238

£400-600

313313A PAIR OF GREEN GLASS DECANTERSBohemia, for the Islamic Market, circa1900each with gold painted and cut vinedesign, the slender necks with tripleconvex rings, tall pointed stoppers37, 36cm high (including stoppers) (2)


£350-450

67


314314A POLYCHROME-PAINTED QAJAR TILEPersia, second half 19th centuryof square form, depicting part of a rococoframe, amidst flowering plants, thereverse with five circular adhesionrecesses and traces of a positioningsymbol23.5 x 24cm


£300-500

315315A BLUE AND WHITE JARDelhi, India, late 19th centuryFritware, with cobalt blue underglaze floralpainted decoration10.5cm

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

£120-150

316316A FIGURE OF A CHAURI BEARERTamil Nadu, South India, late 19th/early20th centurypolychrome-painted wood, the plumpfemale figure standing on a lotus base,wering elaborate belts and jewellery, achauri in her right hand, a fruit in her left61.5cm high


£150-200

317

317A MODEL OF A SOUTH INDIANGOPURAMProbably Tamil Nadu, India, 19th centurycarved wood, in three storeys, the barrelroof with fragmentary kirttimukha finialspointing in each direction40cm high

The gopuram is the gateway to the SouthIndian temple enclosure. Unsually largerthan the main shrine, they were built onthe axis of each perimeter wall. Furtherencircling walls would be added over theyears, sometimes creating a massivecomplex as large as a town, the gopuramsincreasing in size in proportion to the sizeof the complex. The finest example of aTamil temple complex is Srirangam, nearTrichinopoly.

£280-320

318318A DAMASCUS QUR’AN STANDOttoman Syria, circa 1900wood with mother-of-pearl inlaid floraldecoration, composed of two hingedpierced panels with serrated top edges64cm high (opened)

£150-250

319A CARVED WOOD FRIEZEGujarat, probably Ahmedabad, WesternIndia, 18th centuryof rectangular form, comprising a registerof scrolling vines, with birds perched onthe stems23 x 144cm

£200-300

68

319


320A CARVED WOOD LINTELParthabgarh, Rajasthan, India, 19th centuryin the form of a two tiered frieze, with fourcorbel projections along the lower edge,two further projections in the form ofhorse above, the upper tier with figure ofGanesha in relief, flanked by elephantsand parakeets, the outer panels withgeometrical carving157 x 57 x 22cm

£800-1200

321321A PAIR OF PILASTERSAhmedabad, Western India, 19th centuryeach in three sections, the fluted shaftsurmounted by composite capital,standing on sandstone bases238cm (high); 35cm (wide); 28cm (deep)each approx. (2 columns; 6 pieces in all)

£800-1200

322322A CARVED WOOD CHARIOT PANELSouth India, 19th centurydepicting Siva consulting a sage on amountain top, twin attachment projectionsabove and below42cm high

£300-400

323323A CARVED EBONY BOXSri Lanka, circa 1920-30Of rectangular form, with ridged sides, thehinged lid with recumbent carved figure ofan elephant19 x 27 x 18cm

£150-250

324324A PANEL FROM A MAMLUK DOOREgypt, 15th centuryWood carved and inlaid with ebony, boneand ivory, of geometrical eight sided form,the central carved arabesque design,surrounded by a stylised leaf border, oldinventory (?) number ‘24470’ inscribed onupper edge, mounted on stand11 x 16 x 2.5cm

£800-1200

325325A PANEL FROM A MAMLUK DOOREgypt, 15th centuryWood carved and inlaid with ivory, ofrectangular form, carved with threegeometrical medallions with arabesquedesign, with bone parquetry elements,mounted on stand23 x 7 x 1.3cm

£300-500

69

320


326326A CARVED AND INLAID WOODPEDESTALEgypt, circa 1900of slender form and square section, thetop decorated with star, arabesque andcalligraphic motifs, the sides withhorseshoe arches and mother of pearlinlaid star motifs, standing on bun feet90cm high; 35 x 35cm (top)


£450-550

327327A CARVED AND INLAID WOODPEDESTALEgypt, circa 1900of square tapered form, on splayed feet,the top and sides with carved calligraphicand foliate designs, inlaid with mother ofpearl star motifs, the lower shelf fringedwith mashrabiyya openwork decoration72cm high; 42.5cm square (top)


£450-550

328328A SMALL SIDE TABLEEgypt, circa 1900of hexagonal form, decorated with carvedfloral arabesques, mother-of-pearl inlaidstar motifs and openwork mashrebiyyadecoration, standing on six bun feet47cm high


£200-250

329329A MARBLE FIGURE OF A CHAURIBEARERRajasthan, 19th centurycarved and polychrome-painted with gold,the female figure standing with bodyflexed24cm high


£200-300

330330A MARBLE FIGURE OF GANESHARajasthan, Western India, 19th centurythe four-armed elephant headed deityseated on a lotus, his trunk supported by acobra, with pot belly, his vahana the rat athis feet22.7cm high


£200-300

331331A BUFF SANDSTONE JALINorthern India, probably Rajasthan, 18thcenturyof rectangular form, with geometricalpierced decoration interspersed withflower motifs, surrounded by a stylisedacanthus border35.5 x 49.5cm

£200-300

70


332332A MARBLE FOUNTAINRajasthan, India, 20th centuryon scrolling acanthus base, the lotiformshaft supporting two tiers of flower-shaped trays, the finial at the top withwater opening115cm high

£800-1200

333333TWO SMALL STELAEDeccan, 18th/19th centurysteatite, each depicting a male deity,probably Siva, holding a sword and shield23, 21cm (2)


£200-300

334334A LACQUERED WOOD FIGURE OFBUDDHABurma or Thailand, 20th centuryin Burmese style, with glass inlaiddecoration, seated in sattvasana, hishands in bhumisparsa and dhyana mudra,his tightly curled hair with domed usnisa60cm high


£400-600

335335RAMA AND SITA RETURNING FROMLANKANorthern India, dated 1940clay devotional image, polychromepainted, the couple in a small sailing boatwith hamsa prow, accompanied by Rama’sbrother Lakshmana and a boatman,inscribed on the reverse 1940 12.6.4030.5cm high

£180-220

336336A GROUP OF THIRTEEN INDIANCHARACTERSKondapalli, Deccan, Southern India,second half 19th centurypolychrome-painted wood, some withinscriptions in Telugu and Englishunderneath, the figures including alaundryman and his wife, a palanquinbearer, a drummer, a herdsman and abrahmin13cm high, and smaller (13)

This group of figures was made in AndhraPradesh from a light, pal-coloured woodcalled tella puniki. Figures such as thesewere used for educational purposes o bedisplayed in museums, demonstrating thedifferent castes and occupations in nativeIndia, but later they were made asmementoes for the British expatriatecommunity. For a pair of later Deccanifigures in the National Handicrafts andHandlooms Museum, New Delhi, see J. Jain and Aarti Aggarwala, NationalHandicrafts and Handlooms Museum,New Delhi, p.202.

£500-700

337337FOUR INDIAN AND PERSIAN BOXES19th centurycomrising a Mysore sandalwood penbox,with profusely carved lid and sides, the lidwith central figure of Krishna dancing onKaliya, a Qajar painted wood box withqatamkari lid, a qatamkari scribes box(qalamdan), and a large papier macheqalamdan13.5 x 28.5 x 13.2cm (Mysore box); 8.5 x 40x 9.2cm (large qalamdan) and smaller (4)

£250-350

71


338338AN INLAID CANEProbably Monghyr, Northern India, late19th centuryebony shaft with ivory inlaid floraldecoration, buffalo horn hilt, silver mounts94.5cm long

£120-150

339339A KASHMIR PAPIER-MACHE BOXNorthern India, circa 1880Of slightly flared circular form, withdomed lid, the exterior painted with anassortment of human figures and animalsinscribed on the lid ‘Aziz Mughal’, theinterior with a design of floral trees on red ground 20cm high; 26cm diam

£800-1200

340

340A KASHMIR PAPIER MACHE BOXNorthern India, circa 1880Of ten-sided flare form, with domed lid,the polychrome and gold painteddecoration consisting of profuselyscrolling flowering plants, the interior withscrolling carnations on ivory ground23cm high; 28cm max diam

£800-1200

341341A QATAMKARI MIRRORPersia, 19th centurywood with micromosaic work geometricdecoration, of rectangular form, withsliding opening17 x 11.6 x 1.9cm

£100-150

342342A GROUP OF POLYCHROME-PAINTEDTURNED WOOD OBJECTSBihar, Eastern India, first half 20th centurycomprising two spinning tops, an egg cup,a mallet and a fan, the latter with appliquesequin and beetlewing decoration45.5cm long and smaller (5)

£60-80

343343A GEM-SET AND GOLD INLAID JADEDISHIndia, 19th centuryof circular form, the diamond and rubyfoliate design comprising a centralmedallion surrounded by a scrolling floralborder14.5cm diam.

£2000-3000

344344A MUGHAL IVORY PEN BOXNorthern India, 18th centuryOf long rectangular form, composed ofpanels of ivory carved with floral motifs inlow relief, copper gilt mounts, the interiorwith compartments and removable tray5.5 x 24 x 7.4cm

£2500-3500

345345A MUGHAL IVORY BOXNorthern India, 18th centuryOf rectangular form, carved with stylisedfloral and acanthus designs in low relief,on backet feet, copper gilt handles andmounts5 x 10 x 5.5cm

£400-600

72


346346A MOTHER OF PEARL INLAID CANEOttoman Empire, late 19th centuryOf straight tapered form, with bone tip,the shaft with geometrical fish, cypresstree and abstract decoration, the pommelwith repousse silver Ottoman crest91cm long

£200-300

347347A POLYCHROME-PAINTED PANELBikaner, Rajasthan, second half 19thcenturywood, gilded, gessoed and painted, tracesof mirror glass, probably a sliding lid froma box, painted with Krishna on each side,one side also with Radha, raised foliaterelief decoration on one side33.8 x 23cm


£250-350

348348THREE OTTOMAN SHERBET SPOONSWestern Anatolia, 19th centurywith tortoiseshell bowls, bone and brasshandles with coral finials32cm; 32cm; 24cm long (3)

ProvenanceBritish Private Collection

£600-800

349349TWO OTTOMAN SHERBET SPOONSWestern Anatolia, 19th centurythe larger with horn bowl, the smaller oftortoiseshell, each with bone and hornhandles, carved pinecone finial25.8; 22.5cm long (2)


£350-450

350350A ‘TIGER’ RUGTibet, 20th centuryknotted wool pile, of rectangular form, thedesign composed of repeated indigostripes on orange ground160 x 88cm

£1200-1500

351351A LAMA’S COLLARTibet and China, 19th century or earliermade with Chinese silk brocade, in theform of a four-fold cloud collar, with darkblue silk trim, with central circular neckopening and leather tie, mounted88 x 88cm approx.

£500-800

73


352352A PRINTED COTTON TENT PANEL(qanat)Jaipur, early 19th centuryThe design in the form of a cusped mehrabcontaining a ‘jali’ pattern, a rosette in eachspandrel, surrounded by concentric scrollingfoliate borders, mounted on stretcher118 x 66cm

£400-600

353353A SILK LAWONPalembang, Sumatra, Indonesia, 1850-1900of rectangular form, handwoven silk, resist dyed with tritik process, withconcentric yellow and deep purple lozengemotif on pale purple ground, lined withmatching cotton160 x 67.5cm (excluding lining)

£400-600

354354A SILK LAWONPalembang, Sumatra, Indonesia, 1850-1900of rectangular form, handwoven silk, resistdyed with tritik process, the abstract designcomprising an orange rectangle on maroonground, lined with matching cotton180 x 80cm (excluding lining)

£600-800

355355A SILVER THREAD EMBROIDEREDVELVET FAN OR CANOPYLate Mughal, India, circa 1800of circular form, one side with centralmoustachioed face, surrounded by doublescrolling foliate borders, the other,similarly decorated with central flowermotif, iron frame, with green satin pelmetaround the sides51cm diam

For a similar canopy in the NationalMuseum, New Delhi, see S.P.Gupta (ed.),Masterpieces from the National MuseumCollection, New Delhi 1985, no.264, p.177

£300-400

356356A KUZNETSOV PLATE Volkhov, Russia, circa 1900Glazed pottery, with spray stencilledpolychrome ikat design, the reverse withimpressed and transfer factory marks30.5cm diam.


For a group of five similar plates, seeSotheby’s London, 25 April 2012, lot 639

The Kuznetsov factory was in Volkhov,Russia, was established in 1889, one ofmany owned by the Kuznetsov family,producing faience chiefly for the Ottomanand Central Asian market, where it wasmuch in demand. This design is inspiredby Uzbek ikat patterns.

£60-80

357

74


357A CREWEL WORK COVER OR HANGINGKashmir, early 20th centurycotton, embroidered with colour wool, with stylised ‘floral tree-of-life’, design, surrounded by similar scrolling foliate border, lined withvestigial maker’s signature (?) on the reverse247 x 121cm

Kashmir crewel work is reputed to have been introduced by traders from Damascus in the 14th century, but it enjoyed particularpopularity during the last century or so of the British Raj for curtains and other furnishings.

£50-80

358358A KASHMIR SHAWL PANELNorthern India, Afghan Period, late 18th centurywoven wool, probably from a ‘moon’ shawl, the design comprising rows of polychrome botehs on maroon ground, mounted63 x 60.5cm


For a complete ‘moon’ shawl with field of similar design, see Frank Ames, The Kashmir Shawl and its Indo-French Influence, Woodbridge1997, p.313. Ames describes how floral motifs during the Afghan period (1753-1819) moved away from naturalism towards increasingstylisation.

£1200-1500

75


76

359

359 detail

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


Complex woven silks demonstrate the great technical advances in Central Asia and Eastern Iran during this period; for the wealthy elitethese silks were so important as displays of status and wealth that the industry was one of the key pillars of the economy in the area.Birds (sometimes easily identifiable as ducks, eagles or peacocks) in similar roundels to these can be seen on other examples in museumcollections, such as the Cleveland Museum of Art, (1996.2.1). There are also related fragments depicting hunters in the Cleveland Museumof Art (1982.284 & 1959.124)

£7500-9500


360A BUKHARA SUSANIUzbekistan, second half 19th centurycotton and silk, of rectangular form, made in three stitched sections, the design comprising stylised floral roundels surrounded byscrolling leafy stems framed by similar scrolling borders, tasselled edges, lined with beige satin162 x 113cm

£2000-3000

77

360


78

361A SILK-EMBROIDERED LINEN BED VALANCERhodes, Greece, 18th centuryof horizontal form, the plain ground decorated in the middle withnine glastra (flower-vase) motifs, each containing a stylised flowervase, bordered on bottom and one side by double platyphylla(broad-leaf) motifs, a row of smaller single motifs along top edge,mounted on stretcher60.5 x 257cm

ProvenancePenny Oakley, London, circa 2004Private collection, London

Rhodes bed embroideries were known as mostra ‘showpieces’,and were prominently displayed. Textiles from this island in theDodecanese are particularly distinctive with their thick textureddesigns. For a fragment of a closely related valance in the Victoriaand Albert Museum, see Tatiana Ioannou-Yannara, GreekEmbroidery 17th-19th Century: Works of Art from the Collectionsin the Victoria and Albert Museum, Angeliki HatzimihaliFoundation, Athens 2006, no.117, p.280f.

£1500-2500

362A SILK EMBROIDERED SHELF OR CUSHION COVERThasos, Greece, 18th centurythe indigo cotton ground embroidered in maroon, yellow and off-white, the design comprising geometric serrated lozenge shapedpetals, the old frame with label reading: G. Kanakis, EncadrementAmeublement, Rue Stamboul, 8, Alexandrie, Egypte43 x 106cm

ProvenancePrivate collection, LondonInherited by the vendor from his late father

Thasos embroideries from the North-East Aegean are one of theless familiar types amongst the extraordinarily rich variety ofGreek island embroideries. The geometrical motifs recall the muchbetter known Naxos style, but, using a wider range of colours and,including white, and some rare examples, like this, areembroidered on blue ground. The geometrical motifs show morevariety than those in Naxos. There are a handful of Thasos textilesin the Victoria and Albert Museum, two in particular relate closelythis, with blue ground and similar embroidered colours (T2321912, and most of all T410 1950). See also Tatiana Ioannou-Yannara, Greek Embroidery 17th-19th Century: Works of Art fromthe Collections of the Victoria and Albert Museum, AngelikiHatzimihali Foundation, Athens 2006, p.263.

£2000-3000

361

362


79

363363A BEDSPREAD OR BED-CURTAINNaxos, Cycladic Islands, Greece, late 18th centuryembroidered cotton, the plain ground embroidered in two directions in red, the reserved diagonal lines forming a repeated four-partgeometrical lozenge design containing a Byzantine cross with pointed ends, mounted on stretcher129.5 x 211cm

Almost all Naxos embroideries follow the same semi abstract diagonally oriented design. Naxos was the capital of the Cycladic islandsuntil the Ottoman occupation and was the centre of the Roman Catholic church in the region. Influences on its textile traditions camemostly from Venetian pattern books which in turn may have been inspired by Mamluk prototypes. The red dyes on Naxiot embroiderieswere produced from a type of lichen found on the rocks by the sea. For related examples in the Victoria and Albert Museum, see TatianaIoannou-Yannara, Greek Embroidery 17th-19th Century: Works of Art from the Collections of the Victoria and Albert Museum, AngelikiHatzimihali Foundation, Athens 2006, p.269. See also, Roderick Taylor, Embroidery of the Greek Islands, Yeovil 1998, p.49 (bottom left)

£3000-4000


364

364TWO LARGE COPTIC TEXTILE BORDERPANELSEgypt, 6th-10th centuryLinen and wool, woven in umber andivory, with details in red and blue, thedecoration comprising a row of mythicallions in octagonal panels, interspersedwith two larger rectangular panelscontaining figures, interwoven strap workborder interspersed with floral medallionson either side, laid on jute backing73 x 18cm; 64.5 x 17cm (2)

ProvenanceProperty from the Estate of a diplomat.Acquired on his first posting in Egypt inthe 1950’s

£400-600

365365A SMALL COPTIC TEXTILE PANELEgypt, 6th-8th centuryLinen and wool, the polychrome design ofsquare form, depicting a bust of a womanwith bouffant red hair and pink breasts,surrounded by an indigo border withabstract pattern of squares, mounted andframed in perspex13.2cm square approx.

ProvenanceProperty from the Estate of a diplomat.Acquired on his first posting in Egypt inthe 1950’s

£200-300

366366TWO COPTIC TEXTILE FRAGMENTSEgypt, 6th-10th centuryWoven linen, each with polychromedesign, one composed of repeated birdsalternating with palmettes and a roundel,also containing a bird; the othercomprising paired figures and animals onmadder ground, each mounted andframed in perspex 15 x 36cm; 8 x 29cm (2)

ProvenanceProperty from the Estate of a diplomat.Acquired on his first posting in Egypt inthe 1950’s £400-600

367EIGHT REFERENCE BOOKSMostly on Indian Bronze Images(8)

£30-50

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END OF SALE


81

1. Introduction (a) The contractual relationship of 25 Blythe Road Ltd and Sellers

with prospective Buyers is governed by:- (i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the

saleroom and available from 25 Blythe Road Ltd; (iii) 25 Blythe Road Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale

catalogue, in each case as amended by any saleroomnotice or auctioneer's announcement.

(b) As auctioneer, 25 Blythe Road Ltd acts as agent for the Seller.Occasionally, 25 Blythe Road Ltd may own or have a financialinterest in a lot.

2. Definitions “Bidder” is any person making, attempting or considering making

a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer

accepted by the auctioneer (or auction system), including aBuyer’s principal when bidding as agent;

“Seller” is the person offering a lot for sale, including their agent,or executors;

“BR” means 25 Blythe Road Ltd, Auctioneers, 25 Blythe Road,London, W14 0PD, company number 7982062.

“Buyer’s Expenses” are any costs or expenses due to 25 BlytheRoad Ltd from the Buyer;

“Buyer’s Premium” is the commission payable by the Buyer on theHammer Price at the rates set out in the Guide for Prospective Buyersand/or Important Information for Buyers;

“Hammer Price” is the highest bid for the Property accepted bythe auctioneer (or auction system) at the auction or the postauction sale price;

“Purchase Price” is the Hammer Price plus applicable Buyer’sPremium and Buyer’s Expenses;

“Reserve Price” (where applicable) is the minimum HammerPrice at which the Seller has agreed to sell a lot.

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

3. Examination of Lots (a) BR’s knowledge of lots is partly dependent on information

provided by the Seller and BR is unable to exercise exhaustivedue diligence on each lot. Each lot is available for examinationbefore sale. Bidders are responsible for carrying outexaminations and research before sale to satisfy themselvesover the condition of lots and accuracy of descriptions.

(b) All oral and/or written information provided to Bidders relatingto lots, including descriptions in the catalogue, conditionreports or elsewhere are statements of BR’s opinion and notrepresentations of fact. Estimates may not be relied on as aprediction of the selling price or value of the lot and may berevised from time to time at BR’s absolute discretion.

4. Exclusions and limitations of liability to Buyers (a) BR shall refund the Purchase Price to the Buyer in

circumstances where it deems that the lot is a Counterfeit,subject to the terms of BR’s Authenticity Guarantee.

(b) Subject to Condition 4(a), neither BR nor the Seller:- (i) is liable for any errors or omissions in any oral or written

information provided to Bidders by BR, whether negligent orotherwise;

(ii) gives any guarantee or warranty to Bidders and any impliedwarranties and conditions are excluded (save in so far assuch obligations cannot be excluded by English law), otherthan the express warranties given by the Seller to the Buyer(for which the Seller is solely responsible) under theConditions of Business for Sellers;

(iii) accepts responsibility to Bidders for acts or omissions(whether negligent or otherwise) by BR in connection with

the conduct of auctions or for any matter relating to thesale of any lot.

(c) Without prejudice to Condition 4(b), any claim against BRand/or the Seller by a Bidder is limited to the Purchase Price forthe relevant lot. Neither BR nor the Seller shall be liable for anyindirect or consequential losses.

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Before sale, Bidders must complete a Registration Form andsupply such information and references as BR requires. Biddersare personally liable for their bid and are jointly and severallyliable with their principal, if bidding as agent (in which caseBR’s prior and express consent must be obtained).

(b) BR advises Bidders to attend the auction, but BR willendeavour to execute absentee written bids provided thatthey are, in BR’s opinion, received in sufficient time and inlegible form.

(c) When available, written and telephone bidding is offered as afree service at the Bidder’s risk and subject to BR’s othercommitments; BR is therefore not liable for failure to executesuch bids. Telephone bidding may be recorded.

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6. Import, Export and Copyright Restrictions BR and the Seller make no representations or warranties as to

whether any lot is subject to import, export or copyrightrestrictions. It is the Buyer's sole responsibility to obtain anycopyright clearance or any necessary import, export or otherlicence required by law, including licences required under theConvention on the International Trade in Endangered Species(CITES).

7. Conduct of the Auction (a) The auctioneer (or auction system) has discretion to refuse

bids, withdraw or re-offer lots for sale (including after the fall ofthe hammer) if (s)he believes that there may be an error ordispute, and may also take such other action as (s)hereasonably deems necessary.

(b) The auctioneer (or auction system) will commence andadvance the bidding in such increments as (s)he considersappropriate and is entitled to place bids on the Seller’s behalfup to the Reserve Price for the lot, where applicable.

(c) Subject to Condition 7(a), the contract between the Buyer andthe Seller is concluded on the striking of the auctioneer'shammer.

(d) Any post-auction sale of lots shall incorporate theseConditions of Business.

8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase

Price is due in pounds sterling immediately after the auction(the “Payment Date”).

(b) Title in a lot will not pass to the Buyer until BR has receivedthe Purchase Price in cleared funds. BR will generally notrelease a lot to a Buyer before payment. Earlier release shallnot affect passing of title or the Buyer's obligation to pay thePurchase Price, as above.

(c) The refusal of any licence or permit required by law, asoutlined in Condition 6, shall not affect the Buyer’s obligationto pay for the lot, as per Condition 8(a).

(d) The Buyer must arrange collection of lots within 10 workingdays of the auction. Purchased lots are at the Buyer's risk fromthe earlier of (i) collection or (ii) 10 working days after theauction. Until risk passes, BR will compensate the Buyer forany loss or damage to the lot up to a maximum of the

Conditions of Business for Buyers


82

Purchase Price actually paid by the Buyer. BR’s assumption ofrisk is subject to the exclusions detailed in Condition 5(d) ofthe Conditions of Business for Sellers.

(e) All packing and handling of lots is at the Buyer's risk. BR willnot be liable for any acts or omissions of third party packers orshippers.

9. Remedies for non-payment

Without prejudice to any rights that the Seller may have, if theBuyer without prior agreement fails to make payment for the lotwithin 5 working days of the auction, BR may in its sole discretionexercise 1 or more of the following remedies:-

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(b) Cancel the sale of the lot; (c) Set off any amounts owed to the Buyer by BR against any

amounts owed to BR by the Buyer for the lot; (d) Rreject future bids from the Buyer; (e) Charge interest at 4% per annum above HSBC Bank plc Base

Rate from the Payment Date to the date that the Purchase Priceis received in cleared funds;

(f) Re-sell the lot by auction or privately, with estimates andreserves at BR’s discretion, in which case the Buyer will beliable for any shortfall between the original Purchase Price andthe amount achieved on re-sale, including all costs incurred insuch re-sale;

(g) Exercise a lien over any Buyer’s Property in BR’s possession,applying the sale proceeds to any amounts owed by the Buyerto BR. BR shall give the Buyer 14 days' written notice beforeexercising such lien;

(h) Commence legal proceedings to recover the Purchase Price forthe lot, plus interest and legal costs;

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10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot

within 20 working days of the auction, the lot will be stored atthe Buyer's expense and risk at BR’s premises or inindependent storage.

(b) If a lot is paid for but uncollected within 6 months of theauction, following 60 days written notice to the Buyer, BR willre-sell the lot by auction or privately, with estimates andreserves at BR’s discretion. The sale proceeds, less all BR’scosts, will be forfeited unless collected by the Buyer within 2years of the original auction.

11. Data Protection (a) BR will use information supplied by Bidders or otherwise

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(b) By agreeing to these Conditions of Business, the Bidder agreesto the processing of their personal information and to thedisclosure of such information to third parties world-wide forthe purposes outlined in Condition 11(a) and to Sellers as perCondition 9(i).

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materials produced by BR are the copyright of BR. (b) These Conditions of Business are not assignable by any Buyer

without BR’s prior written consent, but are binding on Bidders'successors, assigns and representatives.

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25 Blythe Road Ltd’s Authenticity Guarantee

If 25 Blythe Road Ltd sells an item of Property which is later shownto be a “Counterfeit”, subject to the terms below 25 Blythe RoadLtd will rescind the sale and refund the Buyer the total amountpaid by the Buyer to 25 Blythe Road Ltd for that Property, up to amaximum of the Purchase Price.

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

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

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

Please note that this guarantee does not apply if either:- (i) the catalogue description was in accordance with the generally

accepted opinions of scholars and experts at the date of thesale, or the catalogue description indicated that there was aconflict of such opinions; or

(ii) the only method of establishing at the date of the sale that theitem was a Counterfeit would have been by means ofprocesses not then generally available or accepted,unreasonably expensive or impractical; or likely to havecaused damage to or loss in value to the Property (in 25 BlytheRoad Ltd’s reasonable opinion); or

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

To claim under this guarantee the Buyer must:- (i) notify 25 Blythe Road Ltd in writing within one (1) month of

receiving any information that causes the Buyer to questionthe authenticity or attribution of the Property, specifying thelot number, date of the auction at which it was purchased andthe reasons why it is believed to be Counterfeit; and

(ii) return the Property to 25 Blythe Road Ltd in the samecondition as at the date of sale and be able to transfer goodtitle in the Property, free from any third party claims arisingafter the date of the sale.

25 Blythe Road Ltd has discretion to waive any of the aboverequirements. 25 Blythe Road Ltd may require the Buyer to obtain atthe Buyer's cost the reports of two independent and recognisedexperts in the relevant field and acceptable to 25 Blythe Road Ltd. 25Blythe Road Ltd shall not be bound by any reports produced by theBuyer, and reserves the right to seek additional expert advice at itsown expense. In the event 25 Blythe Road Ltd decides to rescind thesale under this Guarantee, it may refund to the Buyer the reasonablecosts of up to two mutually approved independent expert reports,provided always that the costs of such reports have been approved inadvance and in writing by 25 Blythe Road Ltd.



Arthur Millner25 Blythe Road London W14 0PD

Tel: +44 (0) 20 7806 5541 Fax: +44 (0) 20 7602 5973 Email: [email protected]


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25 Blythe Road