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1
THREE ILLUMINATED QUR’AN SECTIONS, CHINA, 18TH/19TH CENTURY
arabic manuscripts on paper, each folio with five lines of black calligraphy within red ruled margins, the first with an illuminated double opening and final pages with lotus and diaper motifs on a gold ground, folio 26 x 18.5cm, text 16.5 x 11cm, the others similarly decorated, one with a moulded leather binding, each with approximately 54ff. (3)
£500-800
2
TWO ILLUMINATED QUR’AN SECTIONS, CHINA, CIRCA 18TH/19TH CENTURY
arabic manuscripts on paper, each folio with five lines of black calligraphy within red ruled margins, the first with double opening illuminated pages with vegetal motifs in gold, green and red, with a final double page similarly illuminated, each with approximately 56ff., folio 26 x 16cm, text 16.5 x 11.1cm, moulded leather binding (2)
£600-800
A PRIVATE COLLECTION OF FINE PERSIAN CALLIGRAPHY ACQUIRED IN THE 1970S
3
PERSIAN VERSES INCLUDING A GHAZAL OF ANVARI, SIGNED MUHAMMAD ABRISHAMI, SAFAVID PERSIA, 16TH CENTURY
with seven lines of fine nasta’liq in black ink on paper, a small cartouche of floral and formal motifs on a blue ground, the border with verses by Sayf al-Din Bakharzi in black, ruled margins and further borders of gold motifs, inner text 7.6 x 2.4cm, framed and glazed
Signed katabahu muhammad abrishami al-mashhadi (‘Muhammad Abrishami al-Mashhadi wrote it’). Muhamamd Abrishami was one of the four famous pupils of Sultan ‘Ali Mashhadi and was among the scribes favoured by Ali Shir Nava’i. According to one source, he died in 935/1528-9 (Bayani 1969, pp. 630-32).
£600-800
4
VARIATION ON VERSES BY SALMAN SAVAJI, ATTRIBUTED TO MIR ‘ALI, SAFAVID PERSIA, 16TH CENTURY
in ink and colour and gold on paper, comprising five diagonal lines of elegant nasta’liq in black ink interspersed with scrolling floral motifs, further floral motifs in two cartouches reserved on gold, lined margins, a later mount of foliage and beasts in gold, text 18.6 x 10.5cm, framed and glazed
The text of this exercise comprises variations on verses by Salman Savaji congratulating a prince on the festival of ‘Id. Signed al-faqir al-haqir ‘ali ghafara dhunubaha (‘The poor, wretched ‘Ali, may [God] forgive his sins’). This is one of the ways in which the famed calligrapher Mir ‘Ali Haravi signed his work though in this case it is more likely an attribution. An example of a similar text and also with a spurious claim of authorship to Mir ‘Ali is in the Royal Collection RCIN 1005051.
£500-700
5
PERSIAN VERSES, PROBABLY COPIED BY ‘ABD AL-RAZZAQ, SAFAVID
PERSIA, 17TH CENTURY
a calligraphic exercise composed of four diagonal lines in nasta’liq, signed below, a cartouche of floral motifs within a formal arabesque, ruled margins in blue and gold, text 13.2 x 6.7cm, framed and glazed
This is very likely the work of ‘Abd al-Razzaq Qazvini, who is recorded as the brotherin-law and pupil of Mir ‘Imad and a calligrapher at the court of Shah ‘Abbas. Bayani records a copy of selections of from the Hadiqat al-Hadiqa by him dated 1029/1619-20 (Bayani 1967, pp. 392-3).
£600-800
PERSIAN VERSES FROM A GHAZAL OF ‘AMIR KHUSRAU, SIGNED ‘ABD AL-JABBAR, DATED 1738-9 AD
in black ink on paper with four lines of nasta’liq, further cusped calligraphic cartouches reserved on a gold ground, borders of foliate motifs in gold within ruled margins, text 15 x 7.4cm, framed and glazed
Signed al-faqir al-haqir ‘abd al-jabbar ghafara dhunubahu 1151, ‘the poor, wretched ‘Abd al-Jabbar, may [God] forgive his sins, [AH]1151 [1738-9 AD]’
£600-800
PERSIAN
VERSES, SIYAH MASHQ, BY MIRZA
‘ABBAS
NURI, PERSIA, DATED AH1227/1812-13
comprising four stylish lines of nasta’liq in black ink on paper, inscribed harrarahu al-faqir ‘abbas nuri ghafara lahu sana 1227
‘The poor ‘Abbas Nuri, may [God] forgive him, wrote it, the year 1227 (1812-13).’ along the left hand edge, text 26.6 x 19.2cm, framed and glazed
‘Abbas Nuri was the son of Riza Quli Beg and was from the village of Takor near the city of Nur in Mazandaran. He came to Tehran in the reign of Fath-‘Ali Shah where he found employment as secretary to Prince Imam Virdi Mirza. He was also for short periods the governor of Qazvin and Borujerd. Thanks to his diligence and talent he rose in rank and acquired wealth and lived in ease for around twenty years; after the Shah’s death, however, he fell out of favour, thanks to the machinations of his enemies and lost his position and much of his wealth. As well a statesman he was an outstanding calligrapher. He is said to have taught himself calligraphy by copying the hand of Mir ‘Imad. He received the title of ‘Mirza Buzurg’ (Great Mirza), apparently after he reproduced for the Shah the hand of ‘Imad al-Hasani so accurately that no one could tell the difference. In nasta’liq he was the foremost calligrapher of his day. Bayani records pieces by him dated between 1225 (1810-11) and 1249 (1833-4) (Mehdi Bayani, Ahval u Asar-i Khushnavisan, Tehran 1346/1967, vol. 2, pp. 343-348). He was the father of Bahaullah, the founder of the Baha’i faith.
£600-800
VERSES FROM ‘ATTAR’S ASRAR-NAMA AND SADI’S BUSTAN, BY ASADULLAH SHIRAZI, DATED AH1264/1847-8 AD
a calligraphic exercise in black ink in paper in stylish nasta’liq composed in lines set diagonally, horizontally and vertically within gold ruled margins, text 25.9 x 14cm, framed and glazed
Mirza Asadulla Shirazi was one of the great calligraphers of the Qajar period. His career spanned then reigns of Fath-’Ali Shah, Muhammad Shah and Nasir al-Din Shah. His skills were most highly prized by Muhammad Shah who awarded him the title Katib al-Sultani, or Royal Scribe. He was still active in 1889-90 but the precise date of his death is not known.
£600-800
9
A QAJAR CALLIGRAPHIC EXERCISE, SIYAH MASHQ, TABRIZ, PERSIA, DATED 1861-2 AD
comprising of lines of stylised calligraphy in black ink on a gold speckled blue ground, inscribed lower left with the date, place and possibly a signature, text 20.3 x 13.1cm, framed and glazed
The text composed of verses from a qasida of Khaqani and signed ‘al-mudhnib mahmud’, ‘The sinful Mahmud’. At the bottom, a dedication and a date: ba-jihat-i khalu-yi(?) …najaf-‘quli … tahriran 1278, ‘Written in 1278 (1861-2) for the sake of the uncle(?) … Najaf-Quli…’
£500-700
A QAJAR CALLIGRAPHIC EXERCISE, SIYAH MASHQ, BY ALI NAQI, PERSIA, DATED AH1284/1867-8 AD
lines of nasta’liq in black ink on a marbled ground, signed ‘Ali Naqi and dated ‘[AH]1284 [1867-8 AD]’, text 16.5 x 10.3cm, framed and glazed
The calligrapher, ‘Ali-Naqi, also known by the penname ‘Valih’, states that he carried out the work for a certain Aqa Sayyid Mahdi.
£500-700
11
A QAJAR CALLIGRAPHIC EXERCISE,
SIYAH MASHQ, BY MIR HUSAYN, PERSIA,
DATED 1862-3 AD
comprising lines of elegant calligraphy in black ink on a pale blue gold-speckled ground, incorporating a signature and date, text 19.9 x 7.7cm, framed and glazed
Inscribed: mir husayn ghafara lahu sana 1279 ‘Mir Husayn, may [God] forgive him, the year 1279 (1862-3)’
This calligraphic exercise is by Mir Husayn (d.1300/1882-3), one of the outstanding calligraphers of the reign of Nasir al-Din Shah. He was the son of the calligrapher Sayyid ‘Ali Tihrani. Sayyid Mir Husayn Khushnavis was a native of Tehran, but since he spent most of his career in Tabriz as the calligrapher of the Crown Prince and future Shah Muzaffar al-Din, he is often known as ‘Tabrizi Head Calligrapher’ (khushnavisbashi-yi tabrizi). His surviving ouevre consists largely of album pages in nasta‘liq and siyah-mashq album pages. Bayani records pieces by him dated between 1271 (1854-5) and 1295 (1878-9) and speculates that he may have written the inscription on Muhammad Shah Qajar’s tombstone (Mehdi Bayani, Ahval u Asar-i Khushnavisan, Tehran 1346/1967, vol. 1, pp. 151-152). He died in Tabriz in 1300 (1882-3).
£600-800
12
A QAJAR CALLIGRAPHIC EXERCISE, SIYAH MASHQ, BY ‘ABD AL-RAHIM AFSHAR, PERSIA, DATED
AH1295/1878 AD
comprising elegant calligraphy in black ink on paper with interstitial elements in gold, signed and dated lower left, text 36.8 x 21.6cm, framed and glazed
The text opens with pious and Shi‘i legends followed by Persian verses, including ones by Hafiz and Khaqani.
A poet and a calligrapher, ‘Abd al-Rahim Afsar was the son of the poet Mirza Miskin Isfahani. He was the calligrapher of the first part of the earliest newspaper in Isfahan, Farhang, published under the auspices of Zill al-Sultan in Isfahan beginning in 1296/1879. His recorded works are dated between 1279 (1862-3) and 1308 (1890-1). His son was the calligrapher Fathullah Jalali (Bayani 1967, pp. 381-4).
£600-800
13
AN OTTOMAN HILYA, TURKEY, 18TH/19TH CENTURY
cartouches of calligraphy in black ink within foliate motifs reserved on a blue ground, borders of foliate and floral motifs, central panel 33.7 x 19.3cm, framed and glazed
The text comprising a Hilya of the Prophet on the authority of Imam ‘Ali with Turkish verses in the praise of the Prophet below.
£600-800
AN OTTOMAN QUR’AN, COPIED BY MEHMED HAKKI YUZBASI-ZADE, TURKEY, DATED 1869/70
an arabic manuscript in black ink in cursive script in 15ll within gold, blue and red ruled borders, the double opening page elaborately illuminated with floral motifs on a gold and blue ground, the text embellished with gold verse markers, marginal floral motifs and chapter headings in white script on a gold ground, later inscriptions in black ink, red leather binding with impressed lattice designs heightened in gold, fitted velvet-lined box, folio 17.5 x 11.4cm, text 10.7 x 5.9cm
This Qur’an, dated AH 1286/1869-70 AD, was copied by Mehmed Hakki Yüzbaşi-zade, calligraphy teacher at the Rüşdiye College (a military college, founded in 1839) and pupil of Seyyid Mehmed Sa’deddin. The latter was a well-known calligrapher and calligraphy teacher from Bursa, active in the second half of the 19th century, who wrote a prayer book for the Queen Mother Pertev Niyal in 1278 (1861/2) (Inal 1955, p. 347). Further notes, later inscribed, record births in 1884, 1887 and 1891, given both in the Rumi and Hijri calendars.
£3,000-5,000
A QAJAR PAINTING OF ENTANGLED LOVERS, PERSIA, 19TH CENTURY
in colour and gold on paper, in a Safavid manner depicting a man and a woman reclining on a cushion on a ground of gilt foliage, a border of floral sprays, image 20 x 13.5cm, framed and glazed £800-1,200
16
THE HOUGHTON SHAHNAMEH, HARVARD UNIVERSITY PRESS, 1981, 2 VOLS
2 vols., plus one loose plate, edges in gilt, 46 x 30.5cm
£700-1,000
17
THE ARYAMEHR QUR’AN, IRAN, PUBLISHED 1965
This printed copy of the Qur’an was commissioned by the last of the Pahlavi Shahs, Muhammad Reza, 41 x 26cm
£600-800
A PRIVATE COLLECTION OF QAJAR WORKS OF ART
A QAJAR MINIATURE COPY OF MIRZA MUHAMMAD SADIQ NAMI’S ‘LAYLI U MAJNUN’, PERSIA, 19TH CENTURY
a small arabic manuscript in colour, gold and ink on paper, with thirteen lines in fine nasta’liq, an illuminated double opening with floral and formal scrolls on a gold ground, further illuminated headings, gold ruled margins, with a lacquered papier mâché binding with battle scenes, spine detached in part, a label attached to opening flyleaf inscribed in ink ‘Rabino No.2’, folio 8.9 x 5.1cm, text 6.1 x 3.4cm
The colophon says that it was written for ‘a friend among friends’ on 12th Dhu’l-Hijja without mentioning the year. A paper label attached to the flyleaf is inscribed in ink ‘Rabino No.2’. This may refer to H. L. RabinocmG (1877-1950), who acted as British Consul in Resht, Iran, and from whom a number of works were acquired by the British Museum on his return.
Mirza Muhammad Sadiq Nami (d. 1204/ 1789-99) was a poet of the court of Karim Khan Zand. Another copy of this work was sold Christie’s, 11th October 2013, lot 735.
£1,000-1,500
A
QAJAR QUR’AN, COPIED BY ZAYN AL-DIN B. MUHAMMAD SALIH AL-ISFAHANI
QAHDARIJANI, PERSIA, DATED 1810
a beautifully decorated arabic manuscript in colour, gold and ink on paper, each page with fourteen lines of calligraphy in black with red interlinear text, richly illuminated double opening with floral motifs on a gold ground and red borders and gold ruled margins, further illuminated headings and marginal markers, with a lacquer papier mâché binding decorated with floral and leafy sprays, the doublures each with single flowering narcissi stem in gold, folio 26.8 x 16.4cm, text 20 x 11cm
An inscription states that this Qur’an was a copied for Zayn al-Din son of ‘Ali Naqi al-Isfahani by Zayn al-Din b. Muhammad Salih al-Isfahani Qahdarijani on Weds 23 Jumada I 1225 (26 June 1810).
An owner’s inscription at the beginning says that it was acquired in Maragheh by Isma ‘il Muhandasi(?) on 8 Mordad 1310 sh (31 July 1931).
£2,000-3,000
20 A LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA,
BY MUHAMMAD QALAMDANSAZ, DATED 1901-1902
of characteristic form, decorated with portrait roundels of European figures and further scenes of Persian figures, the upper surface inscribed, length 22.6cm
The inscription in two parts. On the left is a date ‘[AH] 1319 [1901-2 AD]’ and on the right is ‘shahanshah-i anbiya’ muhammad’ translated as ‘King of Kings of Prophets, Muhammad’ which is a way in which the artist Muhammad Qalamdansaz is known to sign his works. Examples of his works can be found in a number of institutional collections including a very closely related pencase, dated to 1902-3, in the Metropolitan Museum of Art, inv. no. 67.206.1a–c.
£200-300
21 A QAJAR LACQUERED PAPIER MÂCHÉ PENCASE,
PERSIA, 19TH CENTURY
of characteristic form, decorated with a youthful couple in cartouches flanking a central design of a floral spray within a surround of ornate floral scrolls on a gold ground, length 23.3cm
£200-300
AN UNUSUALLY LARGE QAJAR LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated with densely illustrated cartouches from Persian epics with scenes of courtly audiences and battles, length 41.4cm
£150-250
23
A LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, SIGNED ‘ABBAS SHIRAZI’, DATED 1901-2
of characteristic form, decorated with portrait roundels of European figures and further scenes of Persian figures, the upper surface inscribed ‘kamtarin ‘abbas shirazi 1319’ ’The lowliest ‘Abbas Shirazi [AH]1319 [1901-2AD]’, length 22cm
£300-500
24
A LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated with depictions of female dancers and musicians entertaining a princely figure, probably the scenes from the story of Bahram Gur, length 22.1cm
£150-250
25
AN OVAL LACQUERED PAPIER MÂCHÉ
MIRROR CASE, PERSIA, 19TH CENTURY
with a hinged oval cover, decorated with elaborate designs of floral sprays, height 18.4cm
£300-500
26
A
LACQUERED PAPIER MÂCHÉ HINGED CASKET AND MIRROR CASE, PERSIA, 19TH CENTURY
the casket on four low feet, decorated with a court scene with further compositions of courtly pursuits and scenes from Persian epics such as Khosraw and Shirin, the mirror case with scenes of courtly feasting, the casket 31.2cm wide, the mirror 46.4cm high (2)
£300-500
A LARGE LACQUERED PAPIER MÂCHÉ SCRIBES BOX, PERSIA, 19TH CENTURY
the cover with an elaborate battle scene probably depicting Shah Ismail at the Battle of Chaldiran, within a border of floral scrolls and figural roundels, the body with cusped lobes of floral motifs and calligraphic cartouches, the sides with panels, one depicting a scene of Bahram Gur and Azadeh hunting, the other with Khusrau discovering the bathing Shirin, the drop front panel, missing hinges, with a further battle scene on the interior, enclosing six drawers with metal loop handles, 46.2 x 30.4 x 36.5cm
£2,000-3,000
28
A QAJAR LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated with birds beneath fruiting boughs flanked by two oval cartouches of ducks, length 22.8cm
£300-500
29
A QAJAR LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated with a scene of a mother feeding her child and a watery landscape, length 21.9cm
£150-250
30 A QAJAR LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated with birds within fruiting branches in pale tones on a dark ground, length 23.2cm
£300-500
31
A QAJAR LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated with birds amidst flowering branches on a ground of gold scrolls, length 22.2cm
£150-250
32
A QAJAR LACQUERED PAPIER MÂCHÉ PENCASE, PERSIA, 19TH CENTURY
of characteristic form, decorated throughout with birds perched on richly flowering branches, length 23.5cm
£250-350
33
A LACQUERED PAPIER MÂCHÉ HINGED BOX, PERSIA, 19TH CENTURY
on four low bracketed feet, the cover with a depiction of Fath Ali Shah enthroned and flanked by court attendants, the cover interior with the Shah depicted hunting on horseback, the body with further scenes such as Khusrau and Shirin, and Fitnah and Bahram Gur, further figural and floral cartouches, 43.1 x 29.9 x 20cm
£1,000-1,500
A PORTRAIT OF A MUGHAL NOBLEMAN, INDIA, CIRCA 1700
the standing figure depicted in profile dressed in white robes with foliate motifs tied with a gold sash, sporting a sword and katar and holding an enamelled gold object, within a ruled black border, an owner’s stamp to lower left, image 24 x 16cm, framed
Provenance: A private British collection since the early 1970s, thought to have been purchased at this time from Maggs Bros., London. The ownership seal reads ‘His [God’s] servant ‘Abu Talib, [AH] 1154’ which equates to the date of 1741-2 AD. The same seal appears on a couple of other portraits such as the Deccani portrait of Sultan Ibrahim Adil Shah offered at Sotheby’s, 24th April 2013, lot 79, and the ‘Portrait of a Young Man’, attributed to Reza Abbasi in the Boston Museum of Fine Arts, accession number 14.614. £600-800
AN AMOROUS COUPLE ON A TERRACE, MUGHAL, 18TH CENTURY in opaque colours, gold and ink on paper, depicting an entwined couple sharing a cup of wine, reclining on an elaborate bed set on a moonlit terrace, within a later border of floral sprays in gold, image 20.5 x 15.5cm, framed
Provenance: The William and Mildred Archer Collection.
A private British collection, acquired Sotheby’s, 9th July 1974, lot 32.
Published: Archer 1967, pl. 1.
£500-800
36
A LADY IN EUROPEAN DRESS HOLDING AN FRUIT, MUGHAL, PROBABLY LUCKNOW, 18TH CENTURY
in opaque colours on paper with gold highlights, the figure depicted in profile, with bejewelled hair and henna decorated hands, within an architectural frame beneath a rolled drape, within ruled ink and gilt margins, mounted on a backing board, image 9.6 x 5.6cm
Provenance: A private English collection.
The pose is reminiscent of one found in a depiction of a woman in the Small Clive Album, IS.48:22/A-1956. The album has a number of earlier European prints of ladies and such material is the likely inspiration for the artist of this painting.
£400-600
A LADY RECLINING ON A THRONE, PROVINCIAL MUGHAL, SECOND HALF 18TH CENTURY
in opaque colours and gold on paper, the figure resting on a bolster with uncovered hair in a European style, holding a wine cup and flask, the throne of gem-set gold, a huqqa to her side on a raised four-legged stand, framed, a section of the original catalogue attached to the reverse, image 14.6 x 10.6cm
Provenance: A private British collection, purchased Maggs Bros. Ltd., London, 1973.
£600-800
A NOBLEWOMAN WITH ATTENDANTS ON A TERRACE, MURSHIDABAD, CIRCA 1760-70
in opaque colour, ink and gold on paper, depicting a scene of a noblewoman and attendants on a terrace, image 27.5 x 21.5cm, framed
Provenance: Formerly with Maggs Bros.
This painting is highly reminiscent of those found in an album of Murshidabad paintings formerly in the collection of Charles William Dyson Perrins (see Sotheby’s 26th October 2022, lot 78).
£3,000-5,000
SHAYKH IBRAHIM ADHAM OF BALKH VISITED BY ANGELS, PROVINCIAL MUGHAL, 18TH CENTURY
in opaque colour, ink and gold on paper, depicting a scene of the Shaykh visited by four angels witnessed by an ascetic on a hilltop, image 18 x 13cm, framed
Provenance: Formerly the collection of Graham Slater.
Shaykh Ibrahim Adham of Balkh believed to be an early sufi saint renowned for his asceticism. The composition of this painting owes something to a slightly earlier depiction of this saint attributed to Lucknow amd sold at Christie’s, 26th April 2012, lot 332, and another in the Polsky Collection, Andrew Topsfield (ed.) In the Realm of Gods and Kings, Arts of India, London 2004, no.80, pp.196-7. The saint was admired for renouncing his kingdom of Balkh for the life of a impoverished and itinerant dervish. In this composition, he is offered sustenance by angels to support him on his wanderings while another ascetic looks on in jealousy. The subject seems to have become of greater popularity in Mughal painting in the eighteenth century.
£2,500-3,500
A FOLIO PROBABLY FROM A SAT SAI SERIES, MEWAR, INDIA, EARLY 18TH CENTURY
in opaque colour and gold on paper, a scene of Krishna with two attendant devotees, a meditating figure below flanked by a a seated princely archer and an attendant, two lines of devanagari on a yellow ground above, a yellow and red ruled border, framed, image 22.5 x 17.5cm
Provenance: From a private English collection.
The style and format of this fine painting is reminiscent of works from early copies of Sat Sai, Bihari Lals poem, in particular to those made for a copy dated 1719 AD of which a number of dispersed leaves are recorded. See Bonhams, 21st March 2023, lot 536, and lot 535, which are of similar dimensions.
£1,500-2,000
THREE FOLIOS FROM A DISPERSED RAMAYANA MANUSCRIPT, PAHARI, PERHAPS KASHMIR ARTIST, 18TH CENTURY
gouache and ink with gold on paper, of horizontal rectangular form, two with ten, the other twelve lines of devanagari text, with sections written in black, red and gold, each with central illumination, one depicting Brahma on his vahana, the goose, another depicting Rama with Sugriva, the third a prostrate figure being tied, framed with twin orange borders, framed, 15 x 33.5cm approx. each (inside mount)
Provenance: From the collection of the late Mel Calman (1931-1994).
£500-800
42
A JAIN ILLUSTRATED FOLIO. GUJARAT, LATE 18TH/EARLY 19TH CENTURY
in colours and ink on paper, depicting a tirthankara flanked by a male and female devotee, wthin a foliate and floral scroll border, image 15.5 x 13cm, framed
£300-400
A PAGE FROM A DISPERSED RAGAMALA SERIES, MARWAR, RAJASTHAN, FIRST QUARTER 18TH CENTURY in opaque colours on paper, an amorous couple depicted on a terrace before pavilions, image 28.5 x 21cm, framed This painting appears to come from the same ragamala series as a depiction of Khambavati Ragini in the Metropolitan Museum of Arts, New York, 1978.542.4.
£500-800
A LADY ON SEATED ON A TERRACE, KISHANGARH, 19TH CENTURY
holding a cup in her right hand and a bottle in her left, seated upon a yellow ground carpet with dense foliage in the background, image 16.2 x 14.4cm, framed
£2,000-3,000
A MOONLIT TRYST, BUNDI, SECOND HALF 18TH CENTURY
in opaque colours and ink with highlights in gold on paper, the courtly figure leaving his shield and sword to climb a tower using a red rope to his lover, attendant figures seated to the right remaining unaware, a line of devanagari script on an orange band across the upper border, image 22.5 x 18.2cm, framed
Provenance: Formerly collection of the late Rudolf von Leyden (1908-1983), thence by descent.
Rudolf von Leyden is one of the best known exponents of modern Indian art in the mid-20th century. Born in Berlin, he moved to Bombay in 1932 to escape the Nazi regime at home and join his brother who was already working in the city. After working in advertising and publicity, he became more and more involved in the art world, becoming art critic for the Times of India, helping artists with practical and financial support and acting as curator and judge at artistic events.
This motif, the secretive tryst, became popular in Bundi and Kotah painting from the eighteenth century. Further examples of this subject have appeared at auction at Sotheby’s, 24th April, 2024, lot 127, and 26th April, 1994, lot 14.
£1,500-2,000
47
46
AFTER WILLIAM HODGES ‘THE GATEWAY AT RAJE MAHAL’ AND ‘A MOSQUE AT GAZIPOOR’, 1785 AND 1787
two engravings, both images
33 x 48.3cm, framed
£400-600
A BRASS GAMING PIECE IN THE FORM OF A SEPOY IN EUROPEAN UNIFORM, VIZAGAPATAM, CIRCA 1795
bearing a flintlock musket, socket bayonet incomplete, 7.2cm high excluding stand, 8cm high including
Provenance: From a private English collection.
This bronze figure appears identical to one on the Ashmolean museum, Oxford, inv. no. EA.1977.10.b. which they have described as ‘a native sepoy of the East Indian Company’s Madras army’. The Ashmolean example was part of a group of bronze models of soldiers given by Simon Digby to the museum in 1977. Amongst these figures is an officer riding an elephant which is inscribed with a date of ‘1795’ and ‘Vizagapatnam’ on the elephants rump providing the source of the attribution and dating of the group, though some may be later. The British had established a trading post in the town in the seventeenth century and took control of the area in 1794 from the debt-ridden local Raja.
Although sometimes they have been described as gaming pieces, there is some evidence that these groups, or armies, or brass soldiers may have been commissioned by local rulers as a means of achieving auspicious outcomes or as an accoutrement of courtly life, following the European practice. Unlike their European contemporaries, the Indian models are cast in solid metal and, therefore, are the earliest examples of this form produced in that manner.
Other groups of Vizagapatam figures can be found in the Madras Museum, the Madras School of Art, the Victoria and Albert Museum, the National Army Museum, the Royal collection at Sandringham.
£3,000-5,000
Sir James Lillyman Caldwell, General and Colonel Commandant of the Royal (late Madras) Engineers, lived a long life that combined a taste for military adventure and obvious danger with an equal enthusiasm for intellectual ingenuity and artistic expression. He began his time in India in 1788 as a cadet of the East India Company gaining his first commission with the Madras Engineers in the following year. In 1791, he joined the forces lead by Cornwallis for the campaign against Tipu Sultan. Tipu’s forces were protected by a series of hill top forts across the region which were successively attacked by the British. Caldwell took part in many assaults in this campaign, both engineering the breaching of apparently impregnable defences and as a member of storming parties during which he suffered injury. At the start of the following year he took part in the Cornwallis night time attack on Tipu’s entrenched camp outside Seringapatam. This led to a protracted siege during which Caldwell was again wounded. A peace treaty with Tipu was agreed and Caldwell returned to Madras. For the next few years, his energies were spent on projects to improve public works until, in 1799, General Harris drew his forces together for another and final assault on Tipu Sultan. Caldwell led the ladder party in the successful assault in the second siege of Seringapatam, suffering injury twice including being shot at the top of the breach before falling into the ditch.
Upon recovery, he resumed his civil duties for a number of years but in 1810 adventure beckoned and he joined the British forces sailing to Mauritius to take on the French. Six months later he returned to his duties as a Chief Engineer in the Madras army and was charged with the duties of restoring the fortress at Seringapatam and subsequently the French settlements on the Malabar and Coromandel coasts. It was during this period that, with Major Thomas Fiott de Havilland, Caldwell designed the Cathedral Church of St. George in southern Chennai whose baroque design was inspired James Gibbs’ St. Martins-in-the-Field in London.
In 1837, he retired from the active list, receiving the K.C.B., and returned home to live at first in Paris and then, upon the death of his French wife, between London and the Isle of Wight, where he died in 1863.
GENERAL SIR JAMES LILYMAN CALDWELL (1770-1863)
TIPU’S FORT AT SAVENDROOG, CIRCA 1790-1795
watercolour on wove paper inscribed on the reverse in the artist’s hand ‘Captured by assault after breaching, The Hill Fort at Sawendroog in the Mysore, JLC’, 38.7 x 58cm, mounted
Savendroog was considered to be one of the impregnable hill-top forts of Tipu Sultan. In 1791, during the third Anglo-Mysore war, the British forces, under the command of Charles Cornwallis attempted an assault on the fort. Caldwell, who fought in a number of campaigns in forces led by Cornwallis, accompanied the chief engineer, Lieutenant-Colonel Patrick Ross, whose successful efforts breached the defences of Savendroog. Caldwell was one of the storming party first to enter the fort on 21st December. £500-800
GENERAL SIR JAMES LILYMAN CALDWELL (1770-1863)
TEMPLE AT AMBARSUNDRUM, TAMIL NADU, DATED 1808
grey wash and ink on wove paper inscribed ‘Ambarsumdrum, Tinivally, del. June 1808’ and initialled ‘JLC’ 37.5 by 60cm mounted
£500-800
50
A DEPICTION OF THE MOTI MASJID, DELHI, CIRCA 1820
in watercolour and ink on paper, image 14.8 x 25cm, framed
Probably from a series of views of Mughal monuments of Agra and Delhi, a complete set, including an identical view of the Moti Masjid, was acquired by Lord and Lady Amherst during his years as Governor-General of India, 1823-28, now in the collection of the Victoria and Albert Museum, IS.8 to 22-1964.
£200-300
A DETAIL OF THE PIETRA DURA DECORATION ON THE TAJ MAHAL, DELHI OR AGRA1820-30
watercolour on paper, 17.5 x 12cm, framed and glazed
This is a detail of the inlaid decoration on the top of the cenotaph of Mumtaz Mahal. A complete account of the decoration on the top of the cenotaph can be found in a related painting in the collection of the `Victoria and Albert Museum, AL9232 (o).
£300-500
52
‘TOWN AND PORT OF CALCUTTA’, LONDON, 1848, AFTER CHARLES D’OYLY (BRITISH 1781-1845)
a coloured lithograph, published by Dickinson and Co., image 37 x 55cm, framed
£300-400
53
A STUDY OF A HUQQA BEARER, IN THE MANNER OF SHAIKH MUHAMMAD AMIR OF KARRAYA, CALCUTTA, CIRCA 1845
in watercolour on paper with the watermark ‘J Whatman 1844’, the standing figure depicted on a paved terrace, a thick black border below with thinner black line below, under which is an inscription in pencil, folio 30.5 x 22.7cm
Inscribed in a nineteenth century hand: ‘Hookah Burdar, A Portrait: Who has charge of the Hookah and smoking apparatus’
Provenance: From a private English collection.
The composition, as is the case with many Company School figure studies of the early 19th century, owes its origin to the illustrations of Frans Balthazar Solvyns works published at the end of the 18th century in Calcutta. A very similar figure of a huqqa-burdar by Shaikh Muhammad Amir can be found in the collection of the Victoria and Albert Museum, IS 260-1955, which is inscrobed with the artist’s name. It formed part of a set of depictions of household servants by this artist and his studio that produced some of the most accomplished works of the later Company School tradition.
£3,000-5,000
54
FOUR TANJORE PAINTINGS OF COUPLES, SOUTH INDIA, CIRCA 1820-30
in watercolour on paper, each with a husband and wife representing different trades or castes, including a depiction of an artist at work at a European table and his wife, folios 32.5 x 20.5cm and smaller, mounted
A smaller version of the artist and his wife can be found in a group of paintings in the British Museum, inv. no. Asia1884,0913,O.37, illustrated Dallapiccola 2010, p.193, cat.15.32.
£300-500
55
FIVE
DEPICTIONS OF ASCETICS AND MENDICANTS, PATNA, CIRCA 1820-30
watercolour on paper, including a depiction of a fakir accompanying a bull with five legs, a begging Brahman, a fakir with a small idol in a lamp, two different kind of fakirs one of which carries a flaming bowl, identified in faint inscriptions in a nineteenth century European hand above, paper watermarked with a crown with a pendant fleur-de-lys above the initials GR folios 21 x 18cm and smaller, mounted
The watermark is usually considered to appear on paper dating from the Georgian era which ends with the death of King George in 1830.
£600-800
56
A PARAKEET PERCHED ON A BRANCH, PATNA, CIRCA 1850-60
opaque colours on mica, the brightly coloured bird depicted on a single woody stem, 16 x 12.5cm, framed
The recording and depiction of the birds of India was a favoured subject of paintings for visiting and resident Europeans from the later 18th century. The style of the work is highly reminiscent of that produced by the workshop of Siva Lal in the 1850s. An album from this workshop is in the collection of the Victoria and Albert Museum 07361:1-19/(IS).
£300-500
57
A REVERSE GLASS PAINTING OF A DANCING GIRL, CHINESE ARTIST IN WESTERN INDIA, MID-19TH CENTURY
the figure depicted dancing on a terrace with flowering peonies beyond, image 31 x 22.1cm, framed
For a closely related painting of a dancer, see Dallapiccola 2017, fig. 2.29, p.181
£1,000-1,500
A DEPICTION OF A MARKET SCENE, AMRITSAR OR LAHORE, CIRCA 1860-70, IN THE MANNER OF BISHAN SINGH
in watercolour, ink and highlights of gilt, the scene depicts a bejewelled lady buying apples from a market trader sporting a pronounced goiter, a young girl offers an apple to a boy holding a book and accompanied by another boy leading a tethered ram, set wthin an architectural structure, with blue ruled margins, inscribed below in faded ink ‘Residents of Bhadarwar near Kangra’ and again in pencil ‘Habitants in Bhadarwar near Kangra’, folio 33.1 x 23.5cm, image 25.3 x 16.9cm
The painting depicts a market scene, a favoured subject matter of the artist Bishan Singh, and displays the characteristic traits of his style in the use of bold colours and gold enlivening finely delineated portraiture and a fascination in detail. A large market scene attributable to Bishan Singh was recently sold at Sotheby’s, 29th October 2025, lot 220. This painting is close both in style and colouration to the present example as well as depicting a similar setting. Another painting with a closely comparable market scene was sold at Sotheby’s, 24th April 2024, lot 139. A further work sold at Sotheby’s, also thought to be the work of Bishan Singh, and possibly a self-portrait of him, exhibits a similarity in both style and colouration, 23rd October 2024, lot 181.
The village mentioned in the later European inscription in the margin is possibly Bhardarwar which is south of Kangra in the state of Himachal Pradesh. After 1846, the district of Kangra was ceded to the British and became part of the British province of Punjab. The area was renowned for its orchards and it would seem that the farmers took their produce to the most important regional market in Amritsar.
There has been some medical conjecture that the inhabitants of the Punjab were particularly beset by a problem with goiters, due to a lack of specfic nutrients in the region.
£3,000-5,000
THE INDIAN CHAIRS OF ELVEDEN HALL
TWO INDIAN CHAIRS FROM THE ELVEDEN ESTATE, BOMBAY, CIRCA 1850
both of blackwood, carved and pierced ornately with tall everting backs, an outer rail comprising a frieze of circular motifs crowned by a crest rail of stylised acanthus leaves emanating from the seat and supporting a pierced palmette, the front legs terminating in a double scroll, the first chair 121cm high x 64cm wide x 63cm deep, the second 128cm high x 65cm wide x 61cm deep
Provenance: Thought to be the property of Sir Duleep Singh, the last Sikh Maharajah, remaining in Elveden Hall when acquired by the Earl of Iveagh in 1894.
Private Collection, acquired Christie’s, 21st to 24th May, 1984, Elveden Hall, the property of the Earl of Iveagh, lot 536.
For the first time in over forty years, since they left Elveden Hall, these chairs come to auction, providing a remarkable opportunity to acquire a legacy of Sir Duleep Singh’s life in Britain.
The term ‘Bombay blackwood’ was used to describe richly carved furniture produced following Victorian models from the 1840s. The wood used was principally blackwood brought from the Malabar coast to supply workshops in and around meadow Street in Bombay. The style of this furniture is overwhelmingly that of Rococo Revival with ‘exaggerated and curvaceous forms ultimately inspired by Louis XV furniture’ (Jaffer 2001, p.330).
These two chairs were sold by Christie’s on behalf of the Earl of Iveagh in 1984 as part of the contents of Elveden. They were amongst just a few pieces of Indian furniture in this sale, have always been considered to have been amongst a few possessions left in the house by Sir Duleep Singh after his departure. The last Maharaja of the Sikh Empire, Duleep Singh had been deposed and sent into exile by the British. He was welcomed and socially embraced by both royalty and aristocracy and became a friend of Queen Victoria. Sir Duleep Singh eventually settled at Elveden, purchasing the estate in 1863. It provided an opportunity for him to engage in his favourite pastime of shooting and he had parts of the Georgian interior remodelled in an Indian style including Indian furniture such as these chairs. In the 1870s his fortunes diminished as did his enthusiasm for British rule in India. He made various attempts to stir foment against colonial rule and left England in 1886 to further pursue this. He died in 1893 and in the following year the Guiness family acquired the estate which remains in their possession.
£8,000-12,000
Duleep Singh
A LARGE DEPICTION OF A BATTLE BETWEEN BURMESE AND SIAMESE ARMIES, THAI, CIRCA 1900
watercolour and gouache on paper, image 50.5 x 69cm, framed and glazed
The scene depicted is possibly that of the Battle of Yuthahatthi of 1593, though may be a fictionalised version on loosely related to this event. The watercolour is closely related to a work in the Walters Art Museum, 2002, acc. no. 35.229. The work in Baltimore is in oil but shares elements of the composition, notably in the elephants in the foreground. The subject and significance of this painting is discussed at length by Dr Rebecca S. Hall in a paper she contributed to the Journal of the Walters Art Museum, Vol. 73 (2018), pp. 35-42, entitled Painting History.
£1,500-2,000
61
A
KALIGHAT PAINTING
DEPICTING
KRISHNA AND BALARAMA, BENGAL, INDIA, SECOND HALF 19TH CENTURY
in colours on paper, the two figures depicted in characteristic fashion wearing elaborate head gear beneath a leafy tree, framed and glazed, image 37.4 x 24.8cm
A related example from the collection of Graham Slater was sold at Bonhams, 15th April 2025, lot 185.
£500-800
62
FIVE LITHOGRAPHS OF HINDU DEITIES BY THE RAVI VARMA PRESS, MALAVLI, INDIA
each printed in colour and inscribed below the image with a registered number and ‘Ravi Varma Press, Malavli, G.I.P.’ and in devanagari, and another lithograph inscribed ‘Modern Litho Works, Bombay 4’, 36.6 x 25.3cm and smaller (6)
£200-300
63
CHITTAPROSAD BHATTACHARYA (INDIAN 1915-1978)
UNTITLED
watercolour, pen and ink on paper 28 x 33cm signed in Bengali within the composition
Executed in 1952
A self-taught artist, poet, storyteller, and an active member of the Communist party of India, Chittaprosad was inspired by village sculptors, artisans as well as puppeteers. In 1943-44, he experienced the Great Bengal Famine first-hand, resulting in his brutally honest depiction of human suffering in stark drawing and sketches made in pen and ink. Chittaprosad also created landscapes, cityscapes, portraits, female figures, nudes and illustrations for books.
£1,000-1,500
64
NIRODE MAZUMDAR (INDIA 1916-1982)
UNTITLED (SARASWATI) tempera on paper signed painted in 1970s image 22 x 34.5cm framed and glazed Provenance: acquired in the 1990s.
£3,000-4,000
65
SUNIL DAS (INDIA 1939-2015)
UNTITLED (HORSE)
ink and charcoal on paper signed and dated 2001
64 x 49.5cm
framed and glazed
Provenance: acquired directly from the artist.
£2,000-3,000
66
SARBARI ROY CHOUDHURY (INDIA 1933-2012)
UNTITLED (TYING HER HAIR)
bronze edition of nine executed in 1980 possibly signed in Bengali lower right leg 29.2cm high, with stand
Provenance: acquired directly from the artist.
£4,000-6,000
THE COLLECTION OF THE LATE ROLF NOSKWITH (1919-2017)
LOTS 67-92
ROLF NOSKWITH (1919-2017)
Rolf Noskwith was born in Chemnitz in Germany where his father, Chaim (later Charles) owned a textile factory. The family moved to Britain in 1932 and established a new business, Charnos, with a factory in Derbyshire. With the advent of the Second World War, Rolf’s skill in mathematics led to him joining Turing’s team of codebreakers at Bletchley Park, where he specialised in German Navy Codes. After the war, he joined the family business where he remained until he retired aged 83. His interest in Islamic ceramics began with a trip to Iran in 1976 and in the years that followed, he built up the collection which is offered in this sale.
A KASHAN
‘MINA’I’
POTTERY BOWL, PERSIA, 12TH/13TH CENTURY
moulded overglaze polychrome painted and gilded fritware, the interior with central roundel containing a horseman with a bird, surrounded by a band on the sides of a series of seated figures with further birds and ewers, relief moulded gilt clouds throughout, the exterior with repeated split palmette and dot design, old labels underneath including one reading: H. K. Monif, New York, and handwritten: 1214? 1/19/59, 9cm high; 22cm diam.
£1,000-1,500
68 A NISHAPUR SLIP PAINTED BOWL, PERSIA, CIRCA 10TH CENTURY
earthenware, with flat base and straight sides, painted in white on brown ground with repetitions of letters in bands around the sides and in the centre, old handwritten inventory labels on the reverse, 8cm high, 27cm diam.
£600-900
69
TWO NISHAPUR SLIP PAINTED BOWLS, PERSIA, CIRCA 10TH CENTURY
glazed earthenware, each with white calligraphy on dark brown ground, old Bluett and Sons label underneath each bowl, 5cm high, 20.5cm diam.; 5.5cm high, 21cm diam. (2)
£500-700
A LARGE KASHAN LUSTRE BOWL, PERSIA, CIRCA 1200
lustre painted glazed fritware, of conical form on raised rim foot, the interior with central roundel containing a pair of ‘moon’ faced figures, turquoise underglaze splash at the centre, the sides with a register of panels with arabesque motifs, framed by bands of calligraphy, the exterior with a register of floral medallions, 12.5cm high; 28cm diam.
For a closely related bowl from the Ades collection, found at Gurgan, now in the Victoria and Albert Museum, see inv. no. C.163.1977. There is another example, larger, but with similar decoration in the Metropolitan Museum of Art, New York, 32.52.2 (Fletcher Fund), see Watson 1985, fig.65, p.93.
£4,000-6,000
72
THREE KASHAN BOWLS, PERSIA, 13TH CENTURY
underglaze painted fritware, each with radiating cobalt blue stripe decoration on off-white ground, the larger with a band of sgraffito and pierced decoration around the interior sides, 14.5cm; 11cm; 10cm diam. (3)
For a group of bowls with similar decoration in the Michail Collection, Milan, see Curatola 2006, pp.84-87.
£400-600
71
THREE SAFAVID POTTERY VESSELS, CIRCA 1700
underglaze painted fritware, comprising an elongated octagonal cosmetic box with undulating arabesque decoration and two small dishes, one with a crane amidst foliage, the other with circular medallions amongst scrolling leaves, 17cm diam. and smaller (3)
£500-800
73
THREE PERSIAN POTTERY BOWLS, 10TH-13TH CENTURIES
comprising two Nishapur slip painted earthenware bowls, one with a single line of calligraphy, the other with cursive calligraphic scrolls, and a white Kashan or Bamiyan fritware bowl on rim foot, 4.5cm high, 14.3cm diam. and smaller (3)
£400-600
74
A KASHAN LUSTRE BOWL, PERSIA, CIRCA 1200
lustre painted fritware with underglaze cobalt outlining, the well decorated with roundel depicting a seated figure within a floral star, further seated figures around the edge, the exterior with scroll decoration on the sides and cobalt blue inside the footring, old inventory labels underneath, 6.5cm high; 16.7cm diam.
For a closely related larger bowl in the Sackler Museum, Harvard University, see inv. no. 1923.137, and for a simpler version of this design on a bowl in the Ades Family Collection, see Watson 1985, fig.17, p.55.
£500-800
75
TWO SMALL SLIP PAINTED NISHAPUR BOWLS, PERSIA, CIRCA 10TH CENTURY
earthenware, each with brown painted stylised calligraphy on cream ground, 3.5cm high, 13cm diam.; 4cm high, 12cm diam. (2)
£400-600
76
A LARGE UNGLAZED POTTERY FLASK, NORTH-EASTERN PERSIA, 14TH-15TH CENTURY
the conical lower body on shallow rim foot, the convex top with pierced central roundel depicting wild animals amidst foliage, surrounded by a sgraffito stylised scrolling leaf border, on one side the tubular mouth flanked by a pair of upturned loop handles, 14.5cm high, 26cm long (flask)
For a Timurid glazed vessel of similar form, see Sotheby’s London, 29 October 2025, lot 131.
£400-600
77
A KASHAN TURQUOISE GLAZE POTTERY FIGURE OF A LION, PERSIA, 12TH/13TH CENTURY
78
TWO SMALL KASHAN MONOCHROME GLAZED EWERS, PERSIA, 12TH/13TH CENTURY
fritware, seated on rectangular base, with stylised features, a pronounced ridge along its back, 9.3cm
£300-400
fritware, the larger with cobalt blue glaze, of tapered form, with engraved fluting, strap handle and pinched spout, the smaller with turquoise glaze, of bun-shaped form with flared mouth and small tubular spout, 14.5cm; 7.5cm (2)
£350-550
A KASHAN COBALT BLUE GLAZED BOTTLE, PERSIA, 12TH/13TH CENTURY
fritware, of baluster form, on rim foot, the tapered neck supporting flared mouth of tulip form, moulded floral decoration on the shoulder, old Bluett and Sons label underneath, 25.5cm
For a closely related bottle sold at Sotheby’s recently, see 29 October 2024, lot 30
£600-900
A KASHAN SILHOUETTE-WARE EWER, PERSIA, CIRCA 1200
black underglaze painted fritware, with strap handle and cylindrical neck, with reserved turquoise stripe decoration on lower body and neck, the shoulder with a band of calligraphy, 20cm
Inscriptions: al-’izz al-da’im wa’l-iqbal wa’l- … wa’l-baqa lisahibihi..‘Perpetual glory and success and … and long life for its owner …’
£300-400
81
THREE PERSIAN POTTERY VESSELS, 15TH-19TH CENTURIES
glazed fritware, comprising a Timurid black painted turquoise glazed bowl, circa 15th century, a Safavid blue and white bowl and a small Qajar dish, 17.2cm; 15.2cm; 13.5cm diam. (3)
£300-400
TWO KASHAN COBALT BLUE GLAZED BOWLS, PERSIA, CIRCA 12TH CENTURY
glazed fritware, each of conical form, on rim foot, the interior decorated with a stylised scrolling foliate band, embossed abstract decoration on the exterior, 15.2; 14.2cm diam.
£300-400
AN IZNIK DISH, OTTOMAN ANATOLIA, EARLY 17TH CENTURY
underglaze painted fritware, painted in cobalt blue, green and relief red with black outlines on white ground, depicting a spray of roses, tulips, hyacinths and carnations, surrounded by a border of half florals on the lip, 26.8cm diam.
£1,000-1,500
THREE PERSIAN POTTERY VESSELS, 10TH-13TH CENTURIES
comprising two Kashan blue and white underglaze painted fritware bowls and a Nishapur sgraffito and splashware earthenware bowl, 8.7cm high; 18.2cm diam. and smaller (3)
£250-350
85
A SMALL NISHAPUR BOWL, PERSIA, CIRCA 10TH CENTURY
slip painted earthenware, the interior painted with a stork carrying a pouch in its beak, the narrowing rim painted with arch motifs, 4.5cm high, 8.7cm diam.
£200-300
86
A NISHAPUR SLIP PAINTED BOWL, PERSIA, CIRCA 10TH CENTURY
earthenware, with slightly tapered rim, the interior painted in brown on cream-coloured ground with a stylised leopard, with pointed ears, spotted coat and upturned tail, old Bluett and Sons label underneath, 7.8cm high, 18cm diam., together with a Nishapur Green-Painted Splashware Bowl, 10th century and a Bamiyan Fritware Bowl, 12th century, with cobalt blue dots on white ground, 7.2cm high, 18cm diam. (3)
£350-450
A LAJVARDINA CROSS TILE, PERSIA, 13TH/14TH CENTURY
overglaze painted and gilt fritware, the moulded relief design comprising a gold painted leafy sprig on turquoise ground, thin gold and russet borders, 14.5 x 15.5 x 1.3cm
Similar lajvardina cruciform tiles can be seen in the Ashmolean Museum (EAX.3200), The Louvre (OA 3351) and Metropolitan Museum of Art (1975.30). See also Curatola 2006, p.124, for a group in the State Hermitage Museum, St. Petersburg.
£600-800
88
A KASHAN LUSTRE ZOOMORPHIC EWER, PERSIA, 12TH/13TH CENTURY
lustre painted fritware, in the form of a stylised ox, on rectangular base, with loop handle and openings on its back and mouth, old inventory labels underneath, 12cm high
For a closely related, slightly larger, ewer in the Ades Family Collection, see Watson 1985, fig.97, p.118.
£300-400
89
A SAFAVID BLUE AND WHITE BATH RASP, PERSIA, 17TH CENTURY
underglaze painted fritware, in the form of a stylised bird, with foliate arabesque decoration, 10.5cm long
For two similar blue and white Safavid bath rasps, see Victoria and Albert Museum, inv. no. 1020D-1876 and Christie’s, 30 April 2004, lot 242.
£250-350
90
A KASHAN BOWL, PERSIA, CIRCA 13TH CENTURY
underglaze painted fritware, on rim foot, the central interior roundel with hexagonal interlaced geometric medallion, the sides with radiating stripes and calligraphic panels in cobalt blue and manganese purple, the exterior with impressed dimples and thin manganese stripes, 9cm high; 19.2cm diam.
£300-500
92
A NISHAPUR SLIP PAINTED BOWL, PERSIA, CIRCA 10TH CENTURY
underglaze painted earthenware, of shallow conical form, with slightly concave base, with ochre and dark brown calligraphic decoration on cream coloured ground, 6cm high, 25.2cm diam.
£250-350
91
A NISHAPUR SPLASHWARE BOWL, PERSIA, 9TH/10TH CENTURY
slip painted earthenware, with sgraffito stylised leaf decoration highlighted in ochre, green and manganese on cream ground, 6.5cm high; 20.2cm diam.
£300-500
VARIOUS PROPERTIES
93
TWO SMALL RAQQA TURQUOISE GLAZE BOWLS, NORTHERN SYRIA, 13TH CENTURY
each of shallow concave form, with small rim foot and broad lip, one with black painted decoration just visible and old label underneath reading fouilles de RAKKA (Syrie, 13e S), both with heavy iridescence, mounted on wood stands, 4.5cm high; 15cm diam. (2)
Provenance: Private collection, London.
£400-600
A
MAMLUK COBALT-BLUE GLASS COSMETIC FLASK, EGYPT OR SYRIA, CIRCA 13TH/14TH CENTURY
the body of square section, with gently flared cylindrical neck, marvered and trailed with opaque white combing, 9cm
For a near identical flask in the Metropolitan Museum of Art, New York, see inv. no. 32.49.3. For a related bottle with different form and colour offered at Bonhams earlier this year, see 22 May 2025, lot 23. See also Carboni 2001, fig.94, p.107 and no.55, p.139, for examples in the Dar al-Athar al-Islamiyyah, Kuwait and The Corning Museum of Glass.
£1,500-2,500
95
AN ILKHANID STAR TILE, PERSIA, 14TH CENTURY
underglaze painted fritware, depicting a stylised low relief carnation plant in reserved white, turquoise and russet on cobalt ground, mounted, 21cm max diam.
For a closely related tile depicting a lotus flower in the Freer Gallery, Smithsonian Institution, Washington D.C., see inv. no. F1999.12
£800-1,200
96
A TIMURID TURQUOISE GLAZED BOWL, PERSIA, 15TH CENTURY
on small rim foot, the black painted decoration with lotus design around a central floral roundel, the everted rim with band of cross-hatching, the exterior with old gallery label, intact, 19cm diam.
£1,000-1,500
A KASHAN TURQUOISE GLAZED JAR, PERSIA, 12TH/13TH CENTURY
fritware, of baluster form, with black painted bands of kufic calligraphy on the shoulder and neck, standing on rim foot, 17cm high
£800-1,200
98
A RARE KHORASAN BRASS INLAID PEWTER BOTTLE, PERSIA OR CENTRAL ASIA, 12TH/13TH CENTURY
of slender pear-shaped form, on splayed foot, the tapered neck with cup-shaped opening, decorated with numerous engraved brass plaques of various shapes, decorated with kufic calligraphy and arabesques, one on each side with a row of musician figures, 59.5cm
For a very similar vase offered at auction in London a few years ago, see Bonhams, 25 April 2017, lot 107. Other related vessels include two bottles of similar but smaller form at Christie’s (15 October 2002, lot 201 & 23 April 2002, lot 79) and a tazza (Christie’s, 10 October 2000).
£6,000-8,000
98 (detail)
99
A QAJAR PIERCED COPPER GILT DISH, PERSIA, 19TH CENTURY
the well with radiating foliate design fringed with a register of ten roundels containing engraved figures of musicians, the raised lip with multiple borders of scrolling stylised foliage, 23cm diam.
£400-600
100
AN ENGRAVED TINNED COPPER TRAY, PROBABLY DECCAN, INDIA, 17TH CENTURY
of circular form with central roundel containing spiralling arabesque, surrounded by a register of fish with twin bodies, alternating with arabesque medallions, the raised lip with lotus leaf border, 49cm diam.
£400-600
100
101
AN OTTOMAN SILVER MOUNTED HORN TOBACCO PIPE, TURKEY, 19TH CENTURY with long silver-mounted bone handle, with scale-shape decoration, the enamelled furnace with hinged lid, mounted, 60cm long
Provenance: Sotheby’s London, 5 October 2011, lot 364, 5.10.2011. £700-900
A TIMURID ENGRAVED TINNED COPPER TRAY WITH SIGNS OF THE ZODIAC, PERSIA, 15TH CENTURY
of circular form with narrow raised lip, the central roundel lattice design, surrounded by concentric bands of strapwork, calligraphy, arabesques and further lattice, a wide band with four cartouches containing inscriptions in thulth, the concave wall engraved with signs of the Zodiac alternating with decorative medallions, 33.7cm diam.
Provenance: Acquired by the vendor in the 1970s.
Inscriptions: al-‘izz al-mawlana [sic] al-sultan / al-a’zam wa’l-khaqan al-mu’azzam / malik riqab al-umam sultan / al-salatin [sic] al-‘arab wa’l-‘ajam, ‘Glory [to] our master, the greatest sultan, the glorified Khaqan, the owner of the necks of nations, the sultans of the sultans of the Arabs and the Persians.’
Around the centre is a frequently encountered benedictory couplet from Sa’di’s Bustan: jahanat ba-kam u falak yar bad; jahan-afarinat nihag-dar bad, ‘May the world be according to your wish and may the firmament be a friend; May the Creator of the World protect you.’
£5,000-8,000
103
A KHORASAN BRONZE CENSER IN THE FORM OF A BIRD, PERSIA, 12TH/13TH CENTURY
on two clawed feet, with stylised engraved wings and pierced body and neck, the leonine head with pointed ears and moustache, 13cm
£2,500-3,500
104
A MAMLUK TINNED COPPER BOWL, 14TH-15TH CENTURY
of squat form, three drop shaped feet, the body engraved with interlaced strapwork containing geometric and calligraphic decoration, the neck with a register of roundels containing star of David, interspersed with calligraphic cartouches, 13cm high
Inscriptions: repetitions of al-‘izz al-d[a’im], ‘Perpetual glory’
£2,000-3,000
A KHORASAN SILVER AND COPPER INLAID BRASS DISH, 13TH CENTURY
of rectangular form, the recessed elongated octagonal well with central roundel, flanked by a pair of bands of kufic script, with triangular arabesque medallions in the raised corners, framed with a further band of kufic script, interrupted by a series of cartouches containing hexagonal medallions, 30 x 19.5 x 3.8cm
Provenance: Acquired by the vendor about 40 years ago.
Inscriptions: Round the border in cursive: Arabic benedictions: al-’izz wa’l-iqbal wa’/l-dawla wa’l-sa’ada / wa‘l-salama wa’l-ta/mma wa’l-ni’ma wa’l-karama wa’l-daw/ama wa’l-shukra wa’/l-shakira wa’l-nusra wa’/l-nasira wa’l-shifa’a / wa’l-‘afiya wa’l-fara/gha wa’l-qana’a wa’l-dawama wa’l-/baqa da’im[an] li-sahibihi, ‘Glory and success and fortune and happiness and well-being and plenitude and (divine) favour and generosity and constancy and gratitude and gratefulness and victory and victoriousness and intercession and health and leisure and contentment and constancy and long life for its owner.’
In Kufic: bi’l-yumn wa’l-baraka wa’l-da/wla wa’l-sur[ur] wal-tamma, ‘With felicity and blessing and good fortune and joy and plenitude’
For a closely related dish from Herat in the British Museum (OA 1968.12-24.1, see Ward 1993, fig.55, p.76. See also Melikian 1982, no.29, p.99-100, for a related square dish in the Victoria and Albert Museum (C.181-1951) and figs. 29 & 30 for two rectangular examples in museums in Afghanistan.
£4,000-6,000
106
A QAJAR ENAMELLED SILVER NARGILEH BASE, PERSIA, FIRST HALF 19TH CENTURY
of ridged conical form, the neck terminating with an everted lip, the sides engraved and filled with enamel, the decoration composed of a row of floral lobed medallions, with two tiers of boteh motifs above, repoussé copper base, 20cm
£1,500-2,500
107
AN OTTOMAN PARCEL GILT SILVER PENCASE (DIVIT), BY HASAN RIZA, EARLY 19TH CENTURY
of typical form, the long shaft with hinged opening and engraved and gilded leaf decoration, the inkwell with faceted convex sides, the oval opening with twin hinges and catch, embossed maker’s name and tughra, 5cm high; 28cm long; 6.5cm wide
The inscription reads ‘amel-i hasan riza (’The work of Hasan Riza’); the tughra is of Mahmud II (1808-39).
£2,000-3,000
AN OTTOMAN SILVER CASKET, STAMPED WITH TUGHRA OF ABDULAZIZ (1861-1876)
in the form of a European sugar box, with gadrooned body, scrolling handles and bracket feet, the hinged lid with floral handle, the interior lined with puckered velvet, stamped with tughra and sah assay marks, 18 x 25 x 13.5cm, 1533.5 grams
£2,000-3,000
109
FOUR SMALL QAJAR RELIEF TILES, PERSIA, SECOND HALF 19TH CENTURY
110
A LATE QAJAR PICTORIAL TILE, TEHRAN, CIRCA 1890
each depicting a falconer on horseback in a floral landscape, surrounded by a raised border of scrolling fruit vines, 15.5cm square approx. each
£800-1,200
underglaze polychrome-painted fritware, depicting a prince on a palace terrace holding a wine cup and flanked by two female attendants, framed by a border of stylised kufic script, 20.8cm square
This tile is similar to the work of the famous craftsman, Ali Muhammad Isfahani, who worked near Tehran towards the end of the 19th century. Several examples of his work can be seen in the Victoria and Albert Museum, for example inv. no. 568-1888.
£500-800
111
A SAFAVID BLUE AND WHITE KENDI, PERSIA, 17TH CENTURY
underglaze painted fritware, the sides with chinoiserie landscape scenes with various figures, the shoulder opening within convex projection, faux Chinese inscription on the underside, later metal part from lamp fitting, 18cm including mount
For two related Safavid blue and white kendis sold at auction, see Sotheby’s Paris, Collection of the late Pierre Le-Tan, 17 March 2021, lot 280, and Bonhams London, 19 January 2011, lot 114
£400-600
A PANEL OF TWELVE QAJAR CUERDA SECA TILES, PERSIA, 19TH CENTURY
polychrome glaze-painted earthenware, depicting an elaborate flower vase on a split palmette, containing multiple floral forms with scrolling stems on yellow ground, surrounded by a cobalt blue border decorated with undulating floral stems, 20cm square each tile approx.
£2,000-3,000
113
A DAMASCUS BORDER TILE, OTTOMAN SYRIA, LATE
16TH CENTURY
underglaze-painted fritware, the decoration comprising a series of interlinked split palmettes with white bands above and below, 10.5 x 27cm
Provenance: Formerly private collection, Western England. Acquired Bonhams, London, 18 October 1995, lot 626 (part). Previously offered at Sotheby’s, London, 27 April 1995, lot 289 (part).
For another border tile with the same design, see Millner 2025, fig.6.102, p. 287, and for a tile with the same field pattern, see fig. 6.41, p.260.
£400-600
114
A DAMASCUS BORDER TILE, OTTOMAN SYRIA, CIRCA 1600
underglaze painted fritware, the decoration comprising a series of interlinked split palmettes with turquoise bands above and below, 11 x 25cm
Provenance: Formerly private collection, Western England. Acquired Bonhams, London, 18th October 1995, lot 626 (part). Previously offered at Sotheby’s London, 27 April 1995, lot 289 (part).
£400-600
115
A DAMASCUS DISH, OTTOMAN SYRIA, 17TH CENTURY
underglaze painted fritware, painted in green, cobalt blue and manganese purple with black outlines, decorated with a central ogival medallion containing a tulip flower flanked by a pair of floral springs, the lip with a band of scroll motifs on alternating white and green ground, the underside with further foliate motifs around the small ring foot, 30.8cm diam.
£600-800
116
A DAMASCUS TILE, OTTOMAN SYRIA, CIRCA 1570-90
underglaze painted fritware, with a design of cusped lotus medallions, mounted for wall hanging, 29 x 20.7cm
Provenance: Private collection, London. Acquired in these rooms, 18th November 2020, lot 244. Acquired by the former owner privately from the late Sir Howard Hodgkin.
Similar tiles can be seen in the Darwishiyya Mosque, Damascus (1575). Millner 2025, fig. 4.34, p.146.
£600-800
117
A DAMASCUS BORDER TILE, OTTOMAN SYRIA, CIRCA 1600
underglaze painted fritware, the design in two parts divided by a slender turquoise band, one comprising part of a floral trellis, the other a border of floral merlons, 23.5 x 22cm
£600-800
118
A DAMASCUS TILE, OTTOMAN SYRIA, 1560-1570
underglaze painted fritware, painted in apple green, cobalt and copper blue and manganese purple on white ground, the ‘arabesque medallion’ design comprising a leafy trellis of stylised floral motifs around a lobed ogival medallion, 28 x 25.5cm
The earliest surviving example of this design can be seen with slightly different colour scheme in the prayer hall of the Selimiyya Madrasa in Damascus (Millner 2025, fig. 4.14, p.130. There is also a very closely related group in Leighton House, London (op. cit. fig. 6.38, p.259).
£1,500-2,500
119
AN IZNIK DISH, OTTOMAN ANATOLIA, 17TH CENTURY
underglaze painted fritware, decorated with tulips and carnations around a central serrated saz leaf, surrounded by a border of alternating flowers and leafy buds on the lip, old wire mounts for wall hanging, 26cm diam.
£800-1,200
120
AN IZNIK DISH, OTTOMAN ANATOLIA, CIRCA 1600
underglaze painted fritware, painted in cobalt blue, emerald green and relief red on white ground with black outlines, decorated with intricate sprays of roses, hyacinths, lillies and roses, a stylised cloud border on the raised lip, 27cm diam.
£1,000-1,500
AN IZNIK DISH, OTTOMAN ANATOLIA, CIRCA 1590
underglaze painted fritware, decorated in cobalt blue, emerald green and relief red, with black outlines with a design of mixed floral sprays issuing from a cactus in the well, the lip with scrolling wave design, 30.7cm diam.
Provenance: Private collection, Northern England. Acquired by the vendor’s great-aunt from S. Franses, Burlington Gardens, London W1, 16th January 1937 (A copy of the invoice is available with this lot)
£2,500-3,500
122
A SAFAVID CUERDA SECA TILE, PERSIA, 17TH CENTURY
glaze painted earthenware, of square form, depicting a man wearing a turban beside a horse and rider, 24cm square
£800-1,000
123
A QAJAR CUERDA SECA TILE, SHIRAZ, SECOND HALF 19TH CENTURY
glaze painted buff earthenware, with polychrome floral design on white ground, 19cm square
£300-400
124
A COLLECTION OF SEVEN SPANISH TILES, 15TH/16TH CENTURY
glazed earthenware, comprising two cuerda seca border tiles with stylised leaf and geometrical decoration on two sides, and five arista wall tiles, with geometrical and stylised floral designs, the largest 23 x 7 x 7cm; the smallest 11.6 x 5 x 1.5cm (7)
Provenance: Private collection, London. Acquired Bonhams London, 4 October 2011, lots 142, 144 & 145 (part of lots).
For closely related cuerda seca border tiles in the Victoria and Albert Museum, see inv. no. 1005 1884.
£300-400
AN IZNIK DISH, OTTOMAN ANATOLIA, 1580-1590
underglaze painted fritware, the well painted in reserved white on relief red ground with central saz leaf and flanked by pomegranates and tulips on leafy stems, surrounded by a stylised lotus border, with scrolling wave and rock design on the lip, drilled on the foot and wire wall hanging attached, 30.3cm diam.
Provenance: Private collection, Northern England. Acquired by the vendor’s great-aunt from S. Franses, Burlington Gardens, London W1, 16th January 1937 (A copy of the invoice is available with this lot)
£3,000-4,000
TWO IZNIK TILES, OTTOMAN ANATOLIA, 1570-80
underglaze painted fritware, painted in cobalt blue, emerald green and relief red on white slip ground with a design of repeated stippled palmettes and leafy medallions containing tulips and car nations, with rosette sprays, further tulips issing on waving stems, the reverse of each with metal wall-mount, 28cm square each approx.
Provenance: Private collection, London. Acquired Christie’s London, 6th October 2011, lot 314.
Tiles with this design can be seen in the Takkeci Ibrahim Aga Mosque, Istanbul (1591-2). See Arli & Altun 2008, pp. 262, 265.
£4,000-6,000
127
TWO NECKLACES WITH AMULET BOXES, TIBET, CIRCA 19TH CENTURY
the silver amulet boxes set with turquoises, strung with an assortment of beads, including coral, dzi, agate and amber, 36cm approx. diam. (2)
£400-600
128
A PAIR OF PAINTED AND CARVED WOOD BOOKCOVERS, NEPAL, 18TH/19TH CENTURY
each of rectangular form, the exteriors carved with a scale design, the inner surfaces painted with a trio of scenes, one depicting Vajrapani, Mahakala and Lha-Mo, the other depicting Vishnu, Brahma and Siva, 9.5 x 21.5 x 1.5cm approx. each
£400-600
129
A NECKLACE AND
TWO
AMULET BOXES, TIBET, 18TH/19TH CENTURY
the necklace with coral beads, large amber pendant and composite pendant strung with pearls, amber, glass and inlaid brass medallions, the parcel gilt silver amulets each with elaborate repoussé and appliqué decoration, set with turquoises, 35cm approx. diam. (necklace); 8.5cm, 6cm (amulets) (3)
£400-600
130
A BUDDHIST RITUAL DRUM (DAMARU), TIBET, 19TH CENTURY
the twin turned hemispherical wood bowls with leather faces, long Chinese brocade tasselled ribbon attachment 9 x 17.6cm (excluding ribbon)
£300-400
132
131
A TERRACOTTA HEAD OF A BODHISATTVA, MARDAN-HUND REGION, PAKISTAN, CIRCA 9TH CENTURY
with prominent eyes, elaborate headdress with curls and ringlets, and crown adorned with three cakra roundels, mounted, 25cm
Provenance: By repute acquired by the previous owner in the 1980s.
This sculpture comes from an enigmatic group of Kashmir influenced ter racottas found on the fringes of the Swat Valley, dating from the Hindu Shahi period. They have been recently discussed in an article in Arts of Asia magazine by Michael Henss in which a number of closely related examples are illustrated, for example one in the Pritzker Collection, Chicago (Henss 2016, p.26).
£700-900
A SMALL SANDSTONE PANEL DEPICTING KRISHNA HOLDING MOUNT GOVARDHANA, CENTRAL INDIA, 11TH/12TH CENTURY
the deity standing next to a cow and calf who shelter under a tree, mounted, 10 x 11.5 x 4.5cm
Provenance: Formerly collection of the late Rudolf von Leyden (1908-1983), thence by descent.
£300-400
133
A PAIR OF CARVED GRANITE LIONS, TAMIL NADU, SOUTH INDIA, CIRCA 12TH CENTURY
each crouching with head raised, with flared mane, protruding fangs and bulging eyes, 39 x 56 x 35cm approx. each
£700-900
134
A PINK SANDSTONE FIGURE OF A LION, CENTRAL INDIA, 11TH/12TH CENTURY
of stylised form, his raised right front leg supported by a diminutive human figure, mounted, 29cm high
£300-500
135
A LARGE SILVER-INLAID SIVA MASK, WESTERN DECCAN, 19TH CENTURY
his eyes and third eye inlaid with coloured glass, his beard, earrings and details of his crown inlaid with silver, 33cm
£700-900
136
A SMALL JAIN BRASS SHRINE, GUJARAT, WESTERN INDIA, CIRCA 14TH CENTURY
depicting a seated tirthankara on a lion throne inlaid with copper and silver, flanked by pairs of seated and standing tirthankaras, a parasol above flanked by a pair of elephants, kalasa final at the top, the raised plinth with diminutive figures of devotees, dedicatory inscription in devanagari on the reverse including indistinct date samvat 1435 [?](1378 A.D.), 14.5cm
£600-800
137
A BRONZE FIGURE OF VIRABHADRA, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY
standing in tribhanga on a rectangular plinth, holding sword and shield in his primary hands, bow and arrow in his upper hands, a dagger hanging from his belt, wearing sandals and tall headdress with his hair cascading down his shoulders, 16.7cm
Provenance: from the collection of the late Peter Cochrane, acquired in 1969. Inv. no. 69/98.
£500-700
138
A BRONZE FIGURE OF GANESHA, KERALA, SOUTH-WESTERN INDIA, CIRCA 16TH CENTURY
the four-armed elephant-headed deity seated on a mound on raised plinth, his vahana the rat in front, surrounded by a pierced ogival aureole, 9cm high
Provenance: from the collection of the late Peter Cochrane, acquired in 1972. Inv. no. JPC 72/20.
£300-400
139
A BRONZE FIGURE OF NARASIMHA, THE LION AVATAR, SOUTH INDIA, 19TH CENTURY
seated in lalitasana on a lotus throne, the four-armed deity with primary right hand in abhaya mudra, his left holding his consort, his upper hands holding cakra and sankha, wearing tall headdress and disc earrings, 11.3cm
Provenance: from the collection of the late Peter Cochrane, acquired in 1977, inv. no. JPC 77/34.
£400-600
140
A BRONZE VIRABHADRA PLAQUE, WESTERN DECCAN, 17TH/18TH CENTURY
of arched form, the four-armed form of Siva holding sword and shield in his primary hands, a bow and trident in his upper hands, flanked by diminutive figures of Daksha and Sati, his tall headdress sheltered by a cobra canopy, sun and moon emblems on either side, 24 x 17 x 3cm
Daksha had offended Siva at a sacrifice and his daughter. Sati, who was Siva’s wife, felt so insulted that she threw herself on the pyre. Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. The gods pleaded for Daksha’s life but his severed head could not be found, so the head of a goat was substituted instead.
£300-400
141
A BRONZE FIGURE OF A FEMALE DEITY, GUJARAT, WESTERN INDIA, CIRCA 17TH CENTURY
standing on a square base, her ankles crossed, her right hand raised, her left outstretched, wearing necklace and large hoop earrings, her hair gathered in a ponytail at the back, 15.2cm high
Provenance: From the collection of the late Peter Cochrane, acquired in 1975, inv. no. JPC 75/2.
£300-400
142
A BRONZE GROUP DEPICTING LAKSHMINARAYANA, TAMIL NADU, SOUTH INDIA, 18TH CENTURY
the figure of Vishnu seated in lalitasana on a stool on raised plinth, his primary hand in abhaya mudra, his left holding the waist of his consort, Lakshmi, who sits on his left knee, both wearing tall headdress with bud finial, 11cm
Provenance: formerly in the collection of the late Peter Cochrane, acquired in 1966. Inv. no. JPC 66/20.
£300-400
143
A SMALL BRONZE FIGURE OF MANJUSRI, KASHMIR, 8TH/9TH CENTURY
seated in padmasana on a single lotus base, his right hand raised holding a sword, his left holding the stem of a lotus, supporting a book, wearing billowing scarf and three leaf crown, 7.5cm high
For closely related bronze Manjusri figures, see Weltmuseum, Vienna, inv. no. 4577; the Navin Kumar collection, New York (Himalayan Art Resources, item 70711) and the Moke Mokotoff collection (Christie’s New York, 26 September 2023, lot 303).
£300-500
144
AN EMERALD AND DIAMOND-SET SILVER NECKLACE, INDIA, EARLY 20TH CENTURY
composed of nine oval medallions set with faceted emeralds fringed with small diamonds, the central element with pear-shaped drop, uncut emerald drops, 18cm approx. diam.
£800-1,200
145
A JAIPUR ENAMEL GEM-SET GOLD PENDANT, INDIA, CIRCA 1900
of ogival form, the convex front with stylised floral design on red enamel ground, a row of pearl drops below, the reverse with a stylised floral sprig on green enamel design, metal thread tasselled string, 4.5cm max. diam.
£300-400
146
AN ENAMELLED GOLD DIAMOND SET RING, NORTHERN INDIA, 20TH CENTURY
the bezel with central gem setting fringed with a chain of beads, polychrome enamel on the reverse depicting a bird, the band with similar floral decoration on the exterior, 2.9cm long, 8.1 grams
£800-1,200
147
TWO BRASS FINIALS FROM A PALANQUIN POLE, PROBABLY MYSORE, KARNATAKA, CIRCA 18TH CENTURY
each of faceted cylindrical form, the front section terminating in a makara head with gaping jaws and scrolling snout, the back with point bud shape, the former inscribed with three lines of Kannada script and a line of erased script, the latter with partially obliterated single line, mounted together on perspex, 32.5cm; 25.5cm long
£800-1,200
148
A SMALL MON-DVARAVATI STYLE GOLD FIGURE OF BUDDHA, THAILAND, 19TH CENTURY OR EARLIER
standing erect, his hands held up in gyan mudra, a projecting tenon below, 29.3g; 5.5cm high
£1,200-1,500
149
A MUGHAL JADE HILT, NORTHERN INDIA, 18TH CENTURY
pistol-grip form, the surface carved in low relief with superimposed floral sprays on either side, acanthus motifs at the top and base, mounted, 13cm high
£1,200-1,500
A MUGHAL SILVER-GILT ROSEWATER SPRINKLER, INDIA, CIRCA 1800
on pierced splayed base, the gadrooned body and tapered neck clad in fine wire mesh, the shoulder of inverted lotus form, the finial in the form of a floral bouquet, 25.5cm high
Provenance: Offered at Christie’s South Kensington, 22nd April 2016, lot 537.
£2,000-3,000
151 ◉
A RARE IVORY VENEERED WOOD BOX, BERHAMPORE OR MURSHIDABAD, BENGAL, LATE 18TH CENTURY
of rectangular form, with engraved silver mounts and scrolling handles at either end, lined with red velvet and edged in ebony veneer, the hinged lid with central relief panel depicting a royal couple with attendants seated on European style chairs sampling flowers from an elaborate vase, surrounded by a floral frame border and further panels of pierced and relief carved ivory veneer depicting various figures and animals amidst stylised sunflowers, the outer border with black lac filled engraved repeated leaf motifs, the sides with similar relief and pierced decoration depicting figures and animals, 10 x 36.5 x 26.5cm
Provenance: Private collection, Southern England, since before the 1950s.
This highly unusual box is something of an enigma; while the overall form with silver mounts and engraved black lac filled floral borders suggest late 18th century Vizagapatam, the carved relief panels with beaded framing are more typical of ivory work from the twin centres of Murshidabad and Berhampore in Bengal. Typical examples of Vizagapatam boxes of this form dating from the 18th century are in the Metropolitan Museum of Art (2016.115) and the Victoria and Albert Museum (IS.175-1950). Similar relief carving from Bengal can be seen on an ivory box attributed to Berhampore offered at Sotheby’s in 2016 (lot 264, 19 October), and in the Victoria and Albert Museum, a pen box attributed to Murshidabad (R.P. 1921-2562), a Durga shrine, also probably from Murshidabad (1070-1852) and an ivory box with panels framed with similar beading (02471(IS)).
Ivory Registration: NTPJQNWM
£4,000-6,000
152
A CARVED IVORY PANEL FROM A CABINET, SRI LANKA OR COROMANDEL COAST OF INDIA, CIRCA 1700
of rectangular form, carved in relief with a design of scrolling lotuses and irises, mounted, 24 x 9.2cm
Provenance: Sir Howard Hodgkin (1932-2017).
This panel would have formed part of the external veneer of a large cabinet constructed of wood. For a complete cabinet with similar carved relief decoration in the Victoria and Albert Museum, London, see inv. no. IS 70-195
Ivory Certificate: 5ZZXWNH1
£1,000-1,500
153 ◉
A CARVED IVORY HANDLE, PROBABLY MURSHIDABAD, EASTERN INDIA, 18TH CENTURY
of tapered crescent-shaped form, carved in low relief with scrolling leafy flowering plants, 10.2cm long
Provenance: Sir Howard Hodgkin (1932-2017).
Ivory Certificate: JW7BDH2R
£1,000-1,500
154
A VIZAGAPATAM IVORY AND EBONY INLAID WOOD BOX, COROMANDEL COAST, INDIA, LATE 18TH CENTURY
of rectangular form, the hinged lid decorated with a bird in the central roundel surrounded by four squirrels and stylised scrolling leaves, framed by a wide border of further leafy scrolls, the sides with similar decoration, brass mounts, later lined with leather underneath 13 x 49 x 33.5cm
Ivory Registration: HQEV65MJ
£2,000-3,000
AN OTTOMAN IVORY AND BRASS INLAID WOOD JEWELLER’S CHEST, TURKEY, 17TH CENTURY
iron fittings and handles, the front with hinged front and top openings, to reveal an array of ivory inlaid drawers with geometric and arabesque designs, the central drawer also inlaid with mother-of-pearl rosettes, some with secret compartments, the inside of the front panel decorated with an ivory inlaid star motif, 40 x 36.5 x 16cm
For a closely related chest, see Christie’s London, 8 April 2008, lot 172.
Ivory Registration: 8KQU8ARW
£3,000-4,000
156
SIX ISLAMIC WOOD PRINTING BLOCKS AND A CALLIGRAPHIC PLAQUE, PERSIA, 19TH CENTURY
the six printing blocks with thick flared grip handle on the reverse, four with reversed calligraphy, the other three with stylised foliate arabesque decoration, the plaque of rectangular form with central panel surrounded by border, both with text in relief, 23 x 16 x 6cm and smaller (7)
Inscriptions:Lozenge-shaped block: Qur’an 68:51-2 with further text mentioning God and Muhammad. Oval cartouche with nasta’liq text (partly undeciphered): … ya hafiz 1273, ‘ … O Protector! 1273 (1856-7)’Block with cartouche on floral ground: a Persian verse (often found on block-printed tablecloths): vay sharmsar-i khwan-i ‘ata-i tu ruzigar, ‘And O, fortune is put to shame by your table of generosity’. Plaque: central field contains a call on God to bless Muhammad as well as exhortations to attributes of God. In the border is a further exhortation to an attribute of God as well as exhortations to Shi’i imams and Qur’an 68:51-2 with the final few words missing.
£700-900
158
A QAJAR PAINTED AND CARVED WOOD PEN BOX, PERSIA, 19TH CENTURY
157
A QAJAR GAMING BOX, PERSIA, EARLY 19TH CENTURY
veneered wood, painted and carved in low relief, the sides with a series of calligraphic cartouches with verses on the subject of chess and draughts (nard) in nastaliq script, interspersed with Qajar crests, the hinged top painted with chess and backgammon layout, interior with later velvet lining, 16 x 34.5 x 24.5cm
£600-800
of long oval form, the top and sides with low relief carved veneer, the top with a stylised floral design, the sides with cartouches containing a Persian quatrain on the subject of calligraphy, traces of red pigment, the painted ends reading ‘amal-i ustad ‘ali, ’The work of Ustad ‘Ali’, and raqim al-huruf zayn al-‘abidin, ’The writer of the words is Zayn al-‘Abidin’, respectively, the sliding compartment fitted with silver-gilt inkwell, embossed ‘amal-i riza, ’The work of Riza’ with indistinct date, 22.4cm long
£400-600
A NASRID IVORY AND EBONY VENEERED CHESSBOARD, SPAIN, 15TH/16TH CENTURY
the alternating ebony and ivory squares surrounded by a raised border with micromosaic parquetry triangular forms on plain ebony ground, 41.5cm square
Provenance: Christie’s South Kensington, 8 April 2011, lot 182.
This object has undergone radiocarbon tests on both the ivory and the wood elements. Photocopies of the certificates produced by RCD Radiocarbon Testing of Wantage, Oxon, are sold with this lot.
Ivory Registration: V1CZYV5S
£3,000-4,000
A QATAMKARI BOX, PERSIA, EARLY 19TH CENTURY
of elongated octagonal form, on bracket feet, the wood body with exterior covered in micromosaic geometric decoration composed of ivory, brass, mother-of-pearl, ebony and other woods, the interior painted blue and russet, 22 x 54 x 39cm
Ivory Registration: 3LFKMBT8
£1,500-2,000
161 ◉
AN OTTOMAN PARQUETRY SIDE TABLE, CIRCA 1900
with decagonal top on arcaded legs, the mother of pearl, tortoiseshell, wood and bone decoration comprising recessed central panel decorated with a floral sprig in a roundel surrounded by a radiating geometric pattern, 63cm high
£1,500-2,000
AN OTTOMAN PARQUETRY SIDE TABLE, CIRCA 1900
with decagonal top on arcaded legs, the mother of pearl, tortoiseshell, wood and bone decoration comprising recessed central panel decorated with tughra of‘Abdülaziz, the raised lip with similar decoration, 63cm high
£1,500-2,000
A GILT AND PAINTED WOOD TURBAN STAND (KAVUKLUK), OTTOMAN ANATOLIA, EARLY 19TH CENTURY
in the rococo style, the arched back panel with central flower vase carved in relief on a painted ground of floral bouquets flanked by paired Corinthian columns, the lobed protruding shelf painted with faux marble design, scrolling support underneath, 91.5cm high £1,500-2,000
164
A MYSORE CARVED SANDALWOOD CASKET, DECCAN, INDIA, CIRCA 1880
on pierced raised base, standing on claw feet, the sides and lid profusely carved with figures of deities including Krishna, Rama and Hanuman with attendant figures and animals amidst dense scrolling foliage, 18.5 x 34.5 x 16cm
£300-400
165
A CARVED WOOD RITUAL HEADDRESS, KERALA, SOUTH-WESTERN INDIA, CIRCA 19TH CENTURY of fan shaped form, with central kirtimukha mask surmounted by a figure of Gajalakshmi in relief flanked by elephants, further radiating elements around either side depicting musicians, mounted, 59cm high (excluding stand)
For a similar headdress from Northern Kerala, see Michell 1992, no.10, p.135
£1,000-1,200
166
A
RECLINING
FIGURE
OF BUDDHA,
BURMA (NOW MYANMAR), 19TH CENTURY
gilded and lacquered wood, wearing brocaded robes, his head raised, resting on his right hand, 99cm long Depictions of the Buddha reclining in this pose are a particular feature of Burmese Buddhist art, representing him during his final illness, about to enter the parinirvana. Earliest examples can be seen in Gandharan sculpture.
£600-800
167
A BRONZE FIGURE OF BUDDHA, BURMA, 19TH CENTURY
seated in padmasana, his hands in bhumisparsa and dhyana mudra, Burmese bronze figure of Buddha, with elongated earlobes and headdress inlaid with coloured glass, 25.5cm
£300-400
168
A PAINTED MARBLE FIGURE OF BRAHMA, RAJASTHAN, INDIA, CIRCA 1900
the six-armed, four-headed deity standing within an arch, wearing a crown, holding mala and kamandalu in his primary hands, 52cm high
£700-900
169
A GARODA NARRATIVE SCROLL (TIPANU), GUJARAT, 20TH CENTURY
ink and gouache on paper, of long vertical form, depicting a series of scenes, some from the Ramayana and Mahabharata, and deities including Ganesha with his two wives, Gajalakshmi, Rama, Krishna subduing Kaliya, and Hanuman, and, at the centre, a large figure of Bhima, half red and half silver, in the game of amli-pipli, 420 x 34cm
For a very closely related scroll in the National Handicrafts and Handlooms Museum, New Delhi, depicting the same series of scenes, see Jain & Aggarwala 1989, p.127.
The Garodas are a community of storytellers who paint scrolls to illlustrate their narratives. As Jain and Aggarwala point out, their narrative scrolls differ from those produced in other regions of India by combining different legends and stories in a single scroll.
£300-500
A POLYCHROME PAINTED GOPASHTAMI PICHHAVAI, NATHDWARA, RAJASTHAN, CIRCA 1900 pigment with gold and silver on cotton, of rectangular form, the central figure Krishna as Sri Nath Ji surrounded by massed cows tended by herdsmen, the cows with handprinted coats, a humped bull amongst them on either side, the forest beyond with deities in chariots flanking the moon in the sky above, the river in front filled with lotus flowers and fish, 170 x 126cm Gopashtami Utsava is the festival of cattle. For other pichhavais depicting this subject in the Calico Museum, Ahmedabad, see Talwar & Krishna 1979, pls.48-51.
£3,000-4,000
171
A GROUP OF SEVEN CHINESE AND SOUTH-EAST ASIAN HATS, 20TH CENTURY
comprising a Miao silk hat with silver-alloy ornaments, three Miao hats with embroidered floral and abstract decoration, one with coloured glass appliqué, a Chinese child’s celebratory ‘tiger’ hat and two Hmong children’s hats, Thailand, 25 x 23cm approx. and smaller (7)
Provenance: Private collection, Western England.
£400-600
172
A COLLECTION OF EIGHT AFRICAN HATS, 20TH CENTURY
comprising seven Dorze polychrome wool hats, Ethiopia, and one Fulani leather and fibre cattle herder’s hat, West Africa, 18cm-21cm high (8)
Provenance: Private collection, Western England.
£300-500
A
GROUP OF FOURTEEN EMBROIDERED CLOTH HATS, SOUTH AND CENTRAL ASIA, 19TH/20TH CENTURY
comprising a silver-thread embroidered pointed Dervish hat, Pakistan or Afghanistan, a Sindhi topi, worked with metal thread and coloured foil, seven silk-embroidered Turkmen caps, a Bukhara or Lakai flat-topped hat, a silk embroidered cotton hat, probably Baluchistan or Khyber region, and three Gujarati hats, one with appliqué shells and coins in Turkmen style, 17cm average diam. (14)
Provenance: Private collection, Western England.
£800-1,200
174
A LARGE INDIAN LINGAM STONE, 20TH CENTURY OR EARLIER of egg-shaped form, mottled grey stone with russet inclusions, mounted on stand, 34.5cm high
£600-800
176
175
A POLYCHROME-PAINTED WOOD FIGURE OF MATSYA, THE FISH AVATAR, SOUTH INDIA, LATE 19TH CENTURY on rectangular base, depicted as Vishnu held in the mouth of the fish, 27cm high
£300-400
A COLLECTION OF PAINTED CLAY FIGURES, PROBABLY LUCKNOW, FIRST HALF 20TH CENTURY depicting various Indian characters and tradesmen, including a Parsee gentleman, a brahmin priest, a colonial policeman, a court attendant, a student or scholar, various musicians and a butler, also including a figure of Mahatma Gandhi, 10cm-11cm approx. each
From the 19th century onwards, Lucknow was known for the production of low-fired clay figures made of tooled and sculpted clay over a metal armature attached to a circular base. Early examples were in the Italian neo-classical style, applied with a coating of red ochre. Following the annexation of Awadh in 1856, figures were polychrome-painted rather than monochrome, and after the 1880s smaller examples such as these were increasingly popular.
£400-600
177
A PAIR OF WOOD FIGURES, NAGALAND, CIRCA 19TH CENTURY
each nude, the male figure with stick and water pot, the female figure with hand on her abdomen, each mounted, 64cm (male figure), 69cm (female)
For three other Naga wood figures in the National Handicrafts and Handlooms Museum, New Delhi, see Jain & Aggarwala 1989, p.83. £700-900
178
178
AN OTTOMAN SILK EMBROIDERED LINEN PANEL, WESTERN ANATOLIA, 17TH CENTURY
of rectangular form, with a design of stylised tulips, saz leaves and floral medallions sprouting from repeated undulating branches, worked in blue and red on off-white ground, mounted and framed, 57 x 106cm
Provenance: Private collection, London.
For similarly decorated Ottoman covers or hangings in the Victoria and Albert Museum, see inv. nos. 2006-2012 & 61-1891
(Ellis & Wearden 2001, pl.16, p.44
£1,200-1,500
179
A SILK IKAT COAT (KHALAT), BUKHARA, CIRCA 1900
the decoration comprising tiers of bold red roundels on off-white ground alternating with yellow scroll motifs on plum-coloured ground, the tiers merged with spike motifs, 115 x 166cm
£600-800
180
A SAFAVID GILT-METAL BROCADE PANEL, PERSIA, CIRCA 1700
of square form, with a design of repeated tulips alternating with iris flowers, surrounded by a scrolling floral border, framed and glazed, 59 x 58cm
£500-800
181
A SILK AND METAL THREAD WOVEN CALLIGRAPHIC PANEL, NEAR EAST OR NORTH AFRICA, 18TH CENTURY
of rectangular form, the striped design comprising registers of gold calligraphy on buff ground, alternating with bands of red rosettes linked with leaf forms, each divided with slender chevron border, mounted, 78 x 93.5cm
The inscription reads malbus al-’afiya, ‘wear [it] well’. For another fragment from the same textile, see Christie’s London, 6 October 2011, lot 461. A very similar fragment was formerly in the Mahboubian collection, see Mahboubian 1970, front cover. A related textile fragment with the same inscription was sold at Sotheby’s, 6 April 2011, lot 349.
£3,000-5,000
A LARGE OTTOMAN EMBROIDERED SATIN HANGING, WESTERN ANATOLIA, 19TH CENTURY
of rectangular form, the gold coloured ground with a metal thread embroidered mihrab containing a flowering tree of life, flanked by stylised columns, a band of calligraphy above, surrounded by three concentric floral borders, 252 x 177cm approx. £800-1,200
183
A LATE QAJAR EMBROIDERED PANEL, KASHAN, PERSIA, CIRCA 1900
of rectangular form, the central cartouche with star shaped medallion with indistinct inscription, surrounded by scrolling floral forms with birds perched on the tendrils, framed by concentric borders of beading, scrolling foliage and merlon motifs, lined, 141 x 93cm approx.
£1,500-2,000
184
A KASHAN MOHTASHEM RUG, CENTRAL PERSIA, CIRCA 1900
the unusual field design with an indigo and rosy red cruciform medallion against a blue-black field with delicate attenuated leafy sprays with blossoms and within a shaped ogival surround of narrow bands of small geometric motifs, complementary spandrels, all within a blue-black border of palmettes and vine scrolls with feathery leaves and palmettes, 210 x 135cm
Provenance: Private collection, Southern England.
£1,000-1,500
185
A WOVEN WOOL SHAWL, KASHMIR, CIRCA 1870 of long rectangular form, the polychrome design composed of a large composite palmette motif at either end, with related paired botehs on each side, meeting at the centre with inscribed black asterisk medallion on cream ground, embroidered and tasselled ends, 323 x 132cm
For another shawl or shoulder mantle with similar design, see Ames 1997, col. pl.210, p.350.
£2,000-3,000
186
A WOVEN WOOL SHAWL, KASHMIR, 1860-70 of long rectangular form, the design comprising a large black ground ogival medallion with elongated ends and enclosing elaborate scrolls, a pair of complex polychrome mihrab motifs at either end, the whole surrounded by a border of repeated trios of leafy palmettes, embroidered inscriptions in one corner and in central medallion, embroidered tasselled ends, 350 x 132cm
For a related design on a Kashmir rumal, see Ames 1997, pl.166, p.345.
£2,000-3,000
187
A WOVEN WOOL SHAWL, KASHMIR, CIRCA 1870
of long rectangular form, with a complex polychrome design of scrolling foliate forms around a white star shaped central medallion on cruciform black ground, predominantly worked in magenta, red, orange, mauve and green with black and white details, surrounded by a scrolling foliate border, embroidered tasselled ends, embroidered inscriptions in the central medallion and toward one corner, 352 x 135cm
For another shawl or shoulder mantle with similar design, see Ames 1997, col. pl.210, p.350.
£2,500-3,500
LOTS 188-197
Roderick (‘Roddy’) Taylor’s name is indelibly associated with Greek Island and Ottoman textiles, the subjects of his two much admired books, not to mention his numerous articles and immensely popular lectures. He was brought up in India and the Middle East and inherited a collection of rare textiles from his grandmother. After a successful career as a management consultant, he devoted the rest of his life to his passion for textiles.
188
188
A SHAHSAVAN SOUMAK SINGLE KHORJIN (BAG), SOUTH CAUCASUS, SECOND HALF 19TH CENTURY
the diagonally banded field with hooked and star flowerheads, in shades of soft madder, rose pink, saffron, blue and walnut, framed by amn ivory border of polychrome ‘lovebirds’ (one half of a pair of bags), approximately 67 x 53cm
£300-400
189
A RARE MUGHAL APPLIQUÉ PAINTED CLOTH HANGING (PICHHAVAI), NORTHERN INDIA, CIRCA 1800
of rectangular form, depicting a stylised flowering tree, with birds perched on the branches, surrounded on three sides by a triple border comprising twin bands of reversing palmettes with a scrolling floral border in-between, a single border along bottom edge, lined 152 x 117cm
£250-350
190
A DAGHESTAN RUNNER, EAST CAUCASUS, SECOND HALF 19TH CENTURY
the dark walnut field with a column of stylised polychrome palmettes and stepped flowerheads flanked by botehs, all within an ivory border of polychrome stepped leaves and tulips, rosette guards, areas of oxidisation to browns, approximately 282 x 111cm
£300-500
191
A TIBETAN CHEQUERBOARD RUG, LAST QUARTER 19TH CENTURY
the field with checks of alternating light caramel and abrashed indigo blue, approximately 260 x 96cm
£300-500
192
A KARABAGH GALLERY CARPET, SOUTH EAST CAUCASUS, LAST QUARTER 19TH CENTURY
the lavender grey field with a column of serrated medallions flanked by half medallions, all filled with herati on a dark blue ground and centred by large floral medallions, within three narrow borders, localised areas of severe wear, approximately 600 x 211cm
£600-900
193
A GANSU OR MONGOLIAN DRAGON RUG, CIRCA 1900
the dark walnut field with two confronting dragon with polychrome chequered ‘scales, a small plant to each corner, banded border, approximately 152 x 69cm
£250-350
194
A KONYA RUG, CENTRAL ANATOLIA, CIRCA 1800 OR EARLIER
the soft madder field with a yellow ground lobed medallion enclosing a palmette quatrefoil, overall polychrome star guls, counterpoised green and indigo spandrels with rosettes, all within a yellow border of feathered guls and small plants, areas of wear, approximately 262 x 143cm
£400-600
195
A KILIM CARPET, POSSIBLY THRACIAN, LATE 20TH CENTURY
the field banded in red, ivory and blackish-brown, with rows of guls, ivory border of polychrom hooked guls, approximately 337 x 273cm
£300-500
196
A GHASHQ’AI RUG, SOUTH WEST PERSIA, FIRST HALF 20TH CENTURY
the blue-black field with rosettes, flowerheads and boteh supporting three linked diamond medallions with large hooked guls, stepped madder surround, multiple geometric borders, approximately 225 x 147cm £300-500
AN EZINE RUG, WEST ANATOLIA, CIRCA 1800 OR EARLIER
the narrow soft madder field with a column of rosettes and with diamond motifs, diamond crossband, within a broad border of interlocking arrowheads and boxes in shades of walnut, ivory, madder and indigo, ivory rosette outer guard, some losses to ends and corners, approximately 186 x 126cm
£400-600
BIBLIOGRAPHY
Ames 1997
Frank Ames, The Kashmir Shawl and its Indo-French Influence, Antique Collectors’ Club, Woodbridge 1997
Archer 1967
W. G. and Mildred Archer, Indian miniatures and folk paintings: catalogue of exhibition held 1967-1969, Arts Council, London 1967
Arli & Altun 2008
Belgin Demirsar Arli and Ara Altun, Tiles: Treasures of Anatolian Soil, Ottoman Period, Kale Group Cultural Publications, Istanbul 2008
Bayani 1966
Mehdi Bayani, Ahval va Athar-i Khushnavisan, vol. 1, Tehran 1345 H.sh/1966
Bayani 1967
Mehdi Bayani, Ahval va Athar-i Khushnavisan, vol. 2, Tehran 1346 H.sh/1967
Bayani 1969
Mehdi Bayani, Ahval va Athar-i Khushnavisan, vol. 3, Tehran 1348 H.sh/1969
Carboni 2001
Stefano Carboni, Glass of the Sultans, Metropolitan Museum of Art, New York 2001
Curatola 2006
Giovanni Curatola, Persian Ceramics from the 9th to the 14th century, Milan 2006
Dallapiccola 2017
Anna L. Dallapiccola, Reverse Glass Painting in India, Niyogi Books, New Delhi 2017
Dallapiccola 2010
Anna Dallapiccola, South Indian Paintings: A Catalogue of the British Museum Collection, British Museum Press, London 2010
Ellis & Wearden 2001
Marianne Ellis and Jennifer Wearden, Ottoman Embroidery, Victoria and Albert Museum, London 2001
Henss 2016
Michael Henss, ‘The Mystery of the Hund Statues: An Unknown Chapter in Central Asian Statuary’, in Arts of Asia, Vol.46, no.1, 2016
Inal 1955
Ibnulemin Mahmud Kemal Inal, Son Hattatlar, Istanbul 1955
Jaffer 2001
Amin Jaffer, Furniture from British India and Ceylon, London 2001
Jain & Aggarwala 1989
Jyotindra Jain and Aarti Aggarwala, National Handicrafts and Handlooms Museum, New Delhi, Ahmedabad, 1987
Mahboubian 1970
Mehdi Mahboubian, Treasures of Persian Art After Islam: The Mahboubian Collection, New York, 1970
Melikian 1984
Assadullah Souren Melikian-Chirvani, Islamic Metalwork from the Iranian World: 8th-18th Centuries, HMSO, London, 1984
Michell 1992
George Michell et al., Living Wood: Sculptural Traditions of Southern India, Marg, Bombay 1992
Millner 2025
Arthur Millner, Damascus Tiles: Mamluk and Ottoman Architectural Ceramics in Syria, (Second Edition), Prestel, Munich/London/New York
Talwar and Krishna 1979
Kay Talwar and Kalyan Krishna, Historic Textiles of India at the Calico Museum, Ahmedabad, Volume III: Indian Pigment Paintings on Cloth, Ahmedabad 1979
Ward 1993
Rachel Ward, Islamic Metalwork, British Museum Press, London 1993
Watson 1985
Oliver Watson, Persian Lustre Ware, London 1985
Zebrowski 1997
Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London 1997
IMPORTANT INFORMATION FOR BUYERS
SECTION A
1. INTRODUCTION
The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.
Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. AGENCY
As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.
3. ESTIMATES
Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4 BUYER’S PREMIUM
The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%).
5. VAT
The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.
5.1 Items in our catalogue may be marked in the following ways:
(a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium. VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us.
(b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax.
5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.
6. REFUNDS OF VAT
6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has:
(a) registered to bid with an address outside the UK; and
(b) discussed with us the proof of export we require and the timeframes to complete the export.
6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:
(a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium.
(b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu in the Buyer’s Premium.
(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium.
6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.
7. REINVOICING SALES
For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.
8. INSPECTION OF GOODS BY THE BUYER
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. GOODS WITH ELECTRICAL COMPONENTS
These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. ENDANGERED SPECIES
If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. EXPORT OF GOODS
If you intend to export goods you must find out:
11.1 whether an export licence is needed; and
11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. BIDDING
Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. BIDDING PLATFORMS
We offer free online bidding directly through our Website (www.olympiaauctions. com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
14. FINANCIAL CHECKS
As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.1 You may be asked for further information if we deem this necessary.
14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. COMMISSION BIDDING
You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.
16. METHODS OF PAYMENT
16.1 Online: Payment can be made at www.olympiaauctions.com/payments.
16.2 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.3 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
16.4 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
16.5 Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.6 Debit card payments in person: Payments are without limit.
17. COLLECTION AND STORAGE
Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. POTENTIAL CANCELLATION RIGHTS
If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
CATALOGUING PRACTICE
SECTION B
1.
Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. CERAMICS
Obvious faults may be recorded in italics at the end of a description for ceramics.
3.CLOCKS AND WATCHES
All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. DISPLAY ACCESSORIES
Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. FIREARMS
Please note that all bore sizes are approximate.
6. JEWELLERY
It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need reoiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. PHOTOGRAPHS
In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
All photographs are sold unframed unless stated otherwise in the Lot description.
8. PICTURES
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.
(b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence.
(d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date.
(f) “After”: means in our opinion a copy (of any date) of a work of the artist.
(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
9. SILVER, GOLD AND PRECIOUS METALS
Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.
10.
THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:
(a) () indicates a Lot with no Reserve.
(b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.
(c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.
(e) (○) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot.
(f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements.
(g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID.
(h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.
Auction Calendar Autumn 2025
Indian, Islamic, Himalayan and South-East Asian Art
Live sale: 26th November | Viewing 23rd-25th November
Fine Antique Arms, Armour & Militaria
Live sale: 3rd December | Viewing 30th November-2nd December
Fine Paintings, Works on Paper and Sculpture
Live sale: 10th December | Viewing 7th-9th December
Please note sale dates are subject to change
enquiries@olympiaauctions.com | https://www.olympiaauctions.com 25 Blythe Road, London WI4 0PD
ABSENTEE BID FORM
OLYMPIA AUCTIONS
SALE TITLE: INDIAN, ISLAMIC, HIMALAYAN AND SOUTH-EAST ASIAN ART
DATE: 26 NOVEMBER 2025
CODE: OA0171
Please mail, fax or scan and email to:
Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546
Email: enquiries@olympiaauctions.com
Important
Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.
I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.
Methods of Payment
Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.
Online: www.OlympiaAuctions.com/payments
Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG
IBAN No: GB39HBUK40190422033119
BIC: HBUKGB4B
Sort Code: 401904
Account No: 22033119
Account Name: Olympia Auctions
Sterling Bankers Draft: Drawn on a recognised UK bank.
Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
Credit Card payments in person: Payments above £6,000 cannot be accepted.
Debit card payments in person: Payments are without limit.
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Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address. Name
