CKS15504 SaleCat

ARTS OF INDIA
London 12 June 2018

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Sara Plumbly Romain Pingannaud Behnaz Atighi Xavier Fournier Rukmani Kumari Rathore
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INTERNATIONAL SALES CALENDAR
27 JUNE 12 SEPTEMBER 12 SEPTEMBER 25 OCTOBER 5 DECEMBER

“AVANTGARDE” SOUTH ASIAN INDIAN, ART OF THE ANTIQUITIES
A SINGLE OWNER MODERN + HIMALAYAN AND ISLAMIC & INDIAN LONDON
COLLECTION SALE CONTEMPORARY SOUTHEAST ASIAN WORLDS
OF AFRICAN ART ART WORKS OF ART LONDON
PARIS NEW YORK NEW YORK
29 OCTOBER
3 JULY 17 OCTOBER ART AFRICAIN ET
ANTIQUITIES ANTIQUITIES OCÉANIEN
LONDON NEW YORK PARIS
4/05/18
ARTS OF INDIA
TUESDAY 12 JUNE 2018
PROPERTIES FROM: AUCTION
Tuesday 12 June 2018

An English Collection
at 10.30 am
A Dutch Private Collection
A Distinguished Collector, London
8 King Street, St. James’s
The Estate of the Late Simon
London SW1Y 6QT
Digby
The Moscatelli Collection
A Private Collection of Indian VIEWING
Paintings Thursday 7 June 9.00 am - 4.30 pm
Friday 8 June 9.00 am - 4.30 pm
Saturday 9 June 12.00 pm - 5.00 pm
Sunday 10 June 12.00 pm - 5.00 pm
Monday 11 June 9.00 am - 4.30 pm and 6.00 pm - 8.30pm
AUCTIONEER
Romain Pingannaud
Front and back cover: Lot 25 AUCTION CODE AND NUMBER CONDITIONS OF SALE
Inside front cover: Lot 26 In sending absentee bids or making This auction is subject to
Inside back cover: Lot 76 enquiries, this sale should be referred Important Notices,
to as R A M A Y A N A - 1 5 5 0 4 Conditions of Sale
and to reserves.
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THE PROPERTY OF AN ENGLISH GENTLEMAN (LOTS 1-5)
■ 1
A LARGE GREY SCHIST FIGURE OF A
BODHISATTVA
GANDHARA, 2ND/3RD CENTURY
Seated on a plain tapering base, wearing a long
dhoti and low-slung fowing sash over his muscular
torso, adorned with beaded multi-stranded
necklaces, armlets and earrings, his coifure caught
up with a beaded headdress, repaired breaks, old
losses
37in. (94cm.) high
£20,000–30,000 $28,000–41,000
€23,000–34,000
PROVENANCE:
Acquired in Peshawar, Pakistan in 1958 and

exported to the UK later that year
Figures of bodhisattvas in the Gandhara region are

many, represented either in stucco or grey schist
or appearing in mural paintings. Our example
stands out for three main reasons, its hair style,
its adornments and the presence of a lower tenon
mostly lacking on other large Gandhara schist
statues.
His hair is formed of collected strands of matted

hair tied together in a knot and falling slightly
sideways and forward nearly forming two volutes.
Bodhisattvas usually show elegant and sometimes
lavish and orderly top knots, held together with
chains and strings laden with pearls and jewels or
pre-formed turban as Francine Tissot discusses
and sketches (Françine Tissot, Gandhâra, Dessins
d'Anne-Marie Loth et de l'auteur, Publié avec le
concours du CNRS et du Centre d'Etudes des
Monuments Indiens (UA 1076-CNRS) Paris, 2002,
pp.79, 208-215).
The simple collapsing knot seen here fnds a

direct parallel with four knotted hair styles seen
on fgures kept in Peshawar, Lahore and London
(ibid, fg. 111 and 112 ; W. Zwalf, A Catalogue of the
Gandhara Sculpture in the British Museum, London,
1996, vol. II, pl. 61 and 70). Whilst plate 70 (British
Museum OA1902.10-2.8), possibly identifed as
Maitreya and attributed to Swat or Buner, is a
princely fgure with a hair knot verging on the
opulent double volute, plate 61 (British Museum
OA1937.7-16.157), unattributed, depicts a younger
bodhisattva wearing a single knot with the same
collapsed and fattened shape as our fgure’s.
The attire and adornments of the present fgure

are strikingly similar to the Peshawar and Lahore
examples mentioned above and to another fgure,
also in Lahore, referenced to be from either
Takht-i-bahi or Sahri-bahlol (ibid, fg.105). This may
suggest that they were originally carved in the
same region.
This fgure is complete with its unbroken tapering

base. Its tenon would have allowed the fgure to ft
tightly in a mortice so that it stood straight as part
of the decoration of a chapel or stupa.
4 Other fees apply in addition to the hammer price – see Section D of our Conditions of Sale at the back of this Catalogue
5
2
A GREY SCHIST FIGURE OF A SEATED
BUDDHA
Dhyanasana on a lotiform base, his hands clasped
in dharmachakramudra, the robes fowing over his
left shoulder and spilling onto the base in folds, his
face with a meditative expression
17æin. (45cm.) high
£4,000–6,000 $5,500–8,100
€4,600–6,800
PROVENANCE:

The representation of the Buddha as a teacher

is an early and iconic image. The gesture of the
hands in dharmachakramudra is symbolic of the
Buddha's turning the Wheel of Law during his
frst sermon, which set his teachings or dharma
in motion. Following his enlightenment in Bodh
Gaya, the Buddha went into a park near Sarnath
and preached his frst sermon to fve ascetics
who then became the frst Buddhist monks. The
delicate folds indicating the sheerness of the
robe, the features of the face and the wavy locks
are particularly well carved here.
3
A GREY SCHIST FIGURE OF PADMAPANI
Seated on a lotiform base, the head with wavy
locks topped with an elaborate headdress and
backed by a nimbus, wearing multiple necklaces
and a robe draped over his left shoulder, his right
arm raised, possibly in abhayamudra now lacking,
his left hand holding the curved stem of a lotus bud
20in. (50.8cm.) high
£4,000–6,000 $5,500–8,100
€4,600–6,800
PROVENANCE:

Padmapani, the lotus holder, is a bodhisattva

representing the limitless compassion of the
Buddha. This fgure follows the cannon of
representation of Padmapani. He is depicted
in a princely manner, sitting in the royal ease
posture on a lotiform base, richly adorned with
heavy jewellery and with his hair neatly arranged
in a generous double volute chignon held high
with stringed pearls and jewels above a gem-set
headband.
Approximately of the same size and attributed to

Takht-i-bahi another fgure of Padmapani sharing
the same attributes and posture and of similar
size is in the British Museum (OA1950.7-26.1; W.
Zwalf, ‘A Catalogue of the Gandhara Sculpture in
the British Museum’, London, 1996, vol. I, pp.93-
94, cat. 40., vol II, pl.40).
7
4
4
THREE FRAGMENTS WITH SCENES OF THE LIFE OF THE The fragment illustrated on the right of this image shows the Greek Herakles
BUDDHA as Vajrapani. He is clearly visible and stands out of the scene, besides the
GANDHARA, 2ND/3RD CENTURY Buddha Sakyamuni.
Including a vertical grey schist fragment carved with a standing Buddha,
fanked by Vajrapani and other attendants, within a serrated architectural He is depicted wearing a loincloth, his raised arm holding an unidentifed
border, on modern stand; a long grey schist frieze carved with a seated Buddha object – likely a fy whisk - and the facetted vajra in his left hand. In
fanked by four attendants and two columns, on a foral plinth; and an arched Gandharan and Mathuran imagery, Vajrapani’s most noticeable feature
sandstone fragment carved with a seated Buddha against a scrolling ground, is a lion skin tied around the neck as can be seen on the British Museum
to his right a standing bodhisattva with attendants fragment OA 1970,0718.1. Katsumi Tanabe writes that the vajra, which
11in. (28cm.) high; 14Ωin. (36.8cm.) long; and 11Ωin. (29.4cm.) high respectively
somehow recalls Zeus’ thunderbolt, frst belonged to the powerful Vedic
(3)
god Indra and that its form might have originated in Indian culture (Tanabe,
£3,000–5,000 $4,100–6,800 Katsumi. Why Is the Buddha Śākyamuni Accompanied by Hercules/Vajrapāņi?
€3,400–5,700 Farewell to Yakņa-Theory, East and West, vol. 55, no. º, 2005, pp. 366).
PROVENANCE: Tanabe argues that Herakles’s journey during his twelve great deeds
Acquired in Peshawar, Pakistan in 1958 and exported to the UK later that year appropriately mirrored the journey of the Buddha. It appears that Herakles
was consciously chosen during the Gandharan period as a guide, escort
and guard to the historical Buddha (ibid 2005, pp. 376-8). The iconography
of Herakles-Vajrapani as perpetual acolyte of the Buddha is also prevalent
in the art of Mathura (F. B. Flood, Herakles and the ‘Perpetual Acolyte’ of the
Buddha: Some Observations on the Iconography of Vajrapani in Gandharan Art,
South Asian Studies, 5:1, pp. 17-27, DOI: 10.1080/02666030.1989.9628380).
5
A GREY SCHIST HEAD OF THE BUDDHA
Finely carved, the hair pulled in a chignon forming the ushnisha, the urna
marked on the Buddha's forehead, with elongated earlobes, downcast eyes
and serene expression
7ºin. (18.4cm.) high
£3,000–5,000 $4,100–6,800
€3,400–5,700
PROVENANCE:
Acquired in Peshawar, Pakistan in 1958 and exported to the UK later that year
The elongated oval face with marked eyebrows arching sharply on either side
of a raised urna and the U-shaped strands of hair of our head are very close
to another kept at the British Museum (OA1902.5-20.3).
A DUTCH PRIVATE COLLECTION
OF
INDIAN PAINTINGS
(LOTS 6-29)
6 7
6 7
AN ILLUSTRATION TO A RAGAMALA SERIES: KAKUBHA RAGINI RADHA PRESENTS A BOTTLE TO KRISHNA
BUNDI, KOTA OR POSSIBLY RAGHOGARH, RAJASTHAN, NORTH BUNDI, RAJASTHAN, NORTH INDIA, CIRCA 1750
INDIA, CIRCA 1770-80 Opaque pigments heightened with gold on paper, in a courtyard, a servant
Opaque pigments heightened with gold on paper, the heroin holding two foral peering over a jharokha above, in thick black rules, with red borders, the reverse
sprigs surrounded by peacocks walking near a stream in a forest, in thick black with very faint old collection stamps and pencil notes
rules and red borders 10 x 6æin. (25.5 x 17cm.)
9æ x 6ºin. (24.8 x 15.5cm.)
£3,000–5,000 $4,100–6,800
£4,000–6,000 $5,500–8,100 €3,400–5,700
€4,600–6,800
PROVENANCE:
The name kakubha implies a summit, splendour or beauty, but also the Acquired at The Arcade Gallery, London, 28 February 1979
garlands of champaka fowers that hang from this ragini’s hands. She is
shown as a heroine deserted by her lover, who wanders dejectedly in an open 8
landscape beneath monsoon clouds. AN ILLUSTRATION TO A RAGAMALA SERIES: PUNKI OR
PUNYAKI RAGINI
A closely related ragamala painting, depicting a lone heroine in the forest BUNDI, NORTH INDIA, FIRST HALF 18TH CENTURY
amidst birds preparing for a lover's tryst, attributed to Bundi or Kota, circa Opaque pigments heightened with gold on paper, a beggar addresses the
1770 is in the Ashmolean Museum, Oxford (J.C. Harle and Andrew Topsfeld, heroin at her balcony, her attendant at the door, in thick black rule, with wide
Indian Art in the Ashmolean Museum, Oxford, 1987, fg.16, cat.88, pp.79-80). red borders
The Ashmolean painting derives in style from a slightly earlier series of The folio 12. x 8¡in. ( 30.5 x 21.4cm.), the painting 9º x 6in. (23.5 x 15.2cm.)
240 paintings, executed at Kota in 1768, most of which are in the Sarasvati £4,000–6,000 $5,500–8,100
Bhavan Library, Udaipur. Another related illustration of Kakubha Ragini, very €4,600–6,800
similar in composition and style, is in the Cleveland Museum of Art (75.40)
and attributed to the Raghogarh School, circa 1780. PROVENANCE:
Acquired at Polak Works of Art, Amsterdam
Punyaki means "the one who gives alms." The music of punyaki ragini has
been compared to the sound of rushing water.
10 Other fees apply in addition to the hammer price – see Section D of our Conditions of Sale at the back of this Catalogue Opposite: lot 8
11
9 10 (reverse)
9 10
MULLAH DOPIYAZA TWO STANDING PORTRAITS: 'ABD AL-JABAR BEYG AND
PROVINCIAL MUGHAL INDIA, LATE 18TH CENTURY NAYKNA MAKHAN
Opaque pigments heightened with gold on paper, typically depicted mounted DECCAN, CENTRAL INDIA, FIRST HALF 18TH CENTURY
on an emaciated horse, preceded by a dog, in a plain hilly landscape, in red Opaque pigments heightened with gold on paper, 'Abd al-Jabar facing right,
margins, the reverse with two lines of fne devanagari script, old sale label and wearing a green tunic embroidered with foral motifs and tied with an elegant
collections notes in pencil sash, his left hand raised, identifcation inscription in nasta'liq script behind
11º x 8in. (28.5 x 20.4cm.) him, the reverse with a standing portrait of Naykna Makhan, facing left,
wearing a white tunic and fat turban, a shawl thrown over his right shoulder
£1,500–2,000 $2,100–2,700
and a katar tucked in his sash, holding possibly a staf of ofice, each within
€1,700–2,300
thin gold margins within black rules, with heavily cropped gilt foral borders,
mounted, in fragile condition
PROVENANCE:
11¿ x 5¡in. (28.2 x 13.6cm.)
Christie's, 11 October 1979, lot 37
£2,500–3,500 $3,400–4,800
INSCRIPTION: €2,900–4,000
Inscription on a label in devanagari (on the reverse):
mullah do piaza hidya mein dargah / shahi maskhare - Dargah of Mullah Piaza PROVENANCE:
in Handia Acquired at J. Pollak, Amsterdam.
Mullah Dopiyaza was a character from a sequence of folk tales from The anonymous artist has shown both fgures on this double-sided page
Northern India including the Mughal emperor Akbar and his humorous standing, full length, in profle against a plain pale green and a plain blue
courtier Birbal. He was portrayed as an entertaining and witty man, who background, continuing a tradition in Mughal portraiture in Deccan, that
was one of Akbar’s chief advisors and a rival of Birbal. Although the stories had begun in the late 16th century. The artist has executed detailed facial
about Mullah Dopiyaza date from the end of Akbar's reign (1556–1605), this features of both his subjects.
character continued to appear at later dates and became well known by
writers in the late 19th century. Majority of scholars believe Mullah Dopiyaza
to be a completely fctional character. However, scholars such as Hafz
Mahmoud Shirani believe he was in fact a historical personality in the 16th
century, whose original name was Abdul Momin. He is believed to have been
buried in a tomb situated in Handia, Uttar Pradesh, India. A similar portrait of
this Mullah was sold at Christie’s, New York, 21 March 2008, lot 715.
11
A PORTRAIT OF THE ROYAL ELEPHANT
POPDANT
MEWAR, RAJASTHAN, NORTH INDIA, MID
18TH CENTURY
Opaque pigments heightened with gold on paper,
the animal depicted facing left and running, in thin
yellow margins within black rules with red borders,
identifcation in black devanagari script above, the
reverse with old and very faint collection stamp,
further inscriptions in blue Latin script, black
and red devanagari 'maharana ji shri jagat singh
ji ri savari / popdant' (the ride of Maharana Jagat
Singh / Popdant)
9√ x 11¬in. (25.2 x 29.5cm.)
£2,000–3,000 $2,800–4,100
€2,300–3,400
Maharana Jagat Singh II (r. 1734-51) was

particularly devoted to his elephant stable
with several paintings of elephants including
processions, elephant fghts and hunting
scenes being commissioned during his reign (A.
Topsfeld, Court Painting at Udaipur, Zurich, 2001,
p.188). The inscriptions identify the subject of our
painting as Popdant, a favoured elephant from the
royal stable ridden by the Maharaja himself.
12
MAHARAJA ZORAWAR SINGH HUNTING
KOTA, RAJASTHAN, NORTH INDIA, CIRCA
1800
the ruler and his attendant in ambush shooting at
two antelopes feeing, in thin black rules, with red
borders, an inscription in black devanagari script
below, the reverse with further inscription in loose
script
8Ω x 10æin. (22.2 x 27.2cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
PROVENANCE:
Acquired at The Arcade Gallery, London, probably

in 1978
INSCRIPTION:
In devanagari (lower border): ma. shri zorawar singh

ji, 'Maharaja Zorawar Singh'
In devanagari (on the reverse): sabi maharaja shri

zorawar singh ji / gau kein(?) maharaja fateh singh
ji farero / ka ...(?), 'Portrait of Maharaja Zorawar
Singh with(?) Maharaja Fateh Singh travelling /
...(?)'
13
13 14
A STANDING PORTRAIT OF RAO RAJA BHIM SINGH OF UNIARA A KNEELING DANCER
UNIARA, RAJASTHAN, NORTH INDIA, CIRCA 1800 KISHANGARH, RAJASTHAN, NORTH INDIA, THIRD QUARTER 18TH
Opaque pigments heightened with gold on paper, depicted facing right, CENTURY
wearing an orange tunic, in full regalia, in thin yellow margins within black Opaque pigments heightened with gold on paper, depicted with his arms
rules, with wide red borders in white rules, the reverse with three property raised, the reverse with three lines of black devanagari script
stamps of Bhanwar Devendra Singh, Bh. Suraya Vijay Singh Shekhawat 6¿ x 4ºin. (15.5 x 10.8cm.)
and Kumar Sangram Singh, all of Nawalgarh, with hand written notes and
attribution in faded blue ink £2,000–3,000 $2,800–4,100
Folio 13 x 8Ωin. (33 x 21.6cm.), the painting 9æ x 5¬in. (24.8 x 15cm.) €2,300–3,400
£2,000–4,000 $2,800–5,400 PROVENANCE:
€2,300–4,500 Acquired at The Arcade Gallery, London, 18 September 1978
PROVENANCE: INSCRIPTION:
Acquired from the Arcade Gallery, London, probably in 1978 naatak chetak bhaambansa / naukar sarkar nawab / azam khan ji ke, 'Portrait of
the expert dancer, servant of his nawab Azam Khan'
15
15
A HORSE AND GROOM
ATTRIBUTED TO BAGTA, DEVGARH, NORTH INDIA, CIRCA 1760-1800 In Devgarh Bagta developed the skill to capture idiosyncratic traits of
Opaque pigments heightened with gold on paper, the groom holding the bridle appearance and character, with expressions that are often skilfully observed
of a richly adorned and saddled horse, in thin yellow and black margins, in as seen on the groom here, who is unusually depicted in three-quarter profle
black rules, in red borders, attributed to Bagta on reverse (Milo Cleveland Beach and Rawat Nahar Singh II, Rajasthani Painters: Bagta
9¡ x 12in. (24 x 30.5cm.) and Chokha, Germany and Austria, 2007, p.21). A fgure similarly depicted
£8,000–12,000 $11,000–16,000 can be found leading a dog in the lower right hand corner of a painting of
€9,100–14,000 Durbar of Jaswant Singh with Kunvar Ragho Das, attributed to Bagta circa
1776, in the Harvard Art Museum (Milo C. Beach, Eberhard Fischer and B.N.
PROVENANCE: Goswamy (eds.), Masters of Indian Painting II, 1650-1900, Zurich and New
Acquired at The Arcade Gallery, London, probably in 1978 York, 2011, fg.11, p.745). The horse that the groom leads in our painting bears
close resemblance to others painted by the artist. See for example a painting
INSCRIPTION:
of Rawat Gokul Das hunting with a falcon, signed Bagta and dated 1793, in
chatara bagta kat(?), Work of Bagta kat(?)
the Rietberg Museum in Zurich (published by Beach, Fischer and Goswamy
(eds.), op.cit., 2011, fg.5, p.739). For a detailed discussion of the artist and his
The reverse of this painting bears an inscription attributing it to the master
son, see Beach and Singh, op.cit., 2007.
painter Bagta, also spelled "Bakhta" (active 1761-1814). Bagta trained in the
royal court of the Mewar Rajput Maharana Ari Singh, but found true artistic
A few works by Bagta have sold at auction. See for example Bonham’s,
liberation after departing Udaipur for Devgarh (also ‘Deogarh’) in the late
New York, 19 March 2012, lot 1211 or Sotheby’s, New York, 14 November
1760's. There he received new patronage from the Rawats of the Devgarh
2002, lot 34.
thikana. Bagta's characteristic bold use of colour coupled with a refned
execution of detail are visible in this painting.
16 17
A STANDING PORTRAIT OF A NOBLEMAN AN ILLUSTRATION TO A RAGAMALA SERIES: GAUNDKARI
DECCAN, CENTRAL INDIA, SECOND HALF 18TH CENTURY RAGINI OF MALKOS RAGA
Opaque pigments heightened with gold on paper, facing right, leaning on a DECCAN, CENTRAL INDIA, THIRD QUARTER 18TH CENTURY
staf, wearing a white jamma tied with an elaborate sash and a fat turban, in Opaque pigments heightened with gold on paper, the heroine seated on
black rule and thin yellow margin, the reverse with an older pencil annotation a palace terrace, arranging two foral sprays, two cranes near a pool, in
7 x 4in. (17.8 x 10.2cm.) polychrome rules and red borders, a white calligraphic cartouche with Persian
identifcation inscription above
£1,000–1,500 $1,400–2,000
12Ω x 8¡in. (31.8 x 21.2cm.)
€1,200–1,700
£2,000–3,000 $2,800–4,100
€2,300–3,400
PROVENANCE:
Acquired at The Arcade Gallery, London, 18 September 1978
INSCRIPTION:
In nasta'liq in upper red border: az raga malkos ragini sayom gankauri, '
Gaundkari third ragini from Raga Malkos'
17
18
AN ILLUSTRATION TO A RAGAMALA SERIES: KAKUBHA
RAGINI
AMBER OR JAIPUR, NORTH INDIA, FIRST HALF 18TH CENTURY
Opaque pigments heightened with gold on paper, the heroine standing
and holding a foral garland in each hand surrounded by peacocks and
musicians, in a hilly and forest landscape, fve lines of black devanagari
script in a yellow cartouche above, in black and white rules and red
margins
11Ω x 8ºin. (29.2 x 21cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
This illustration belongs to a ragamala set characterised by its

palette of faming reds and oranges, cool mauves and pale greens,
with delicately rendered slender ladies in hilly landscapes fringed by
dense vegetation or in white architectural settings with balconies
and niches with bottles. The series was possibly produced in Amber
or Jaipur around the mid-eighteenth century. Several standardised
ragamala sets are known to exist from the frst half of the eighteenth
century, with similar dimensions, text panels, compositions and
iconographies, they are variously attributed to Malpura, Jaipur, Malwa
or Bikaner.
Another illustration, Vibhasa Ragini, from the same set is in the

National Museum, New Delhi (inv.no. 58.58/83; illus. K. Ebeling,
Ragamala Painting, Basel, 1973, C40, p.105) and is attributed
to Jaipur, circa 1725 (K. Ebeling, op. cit., no.56, p.22). L.Y. Leach
attributed a Gunakali Ragini folio in the Cleveland Museum of Art,
from the same series as our painting, to ‘probably Jaipur, circa 1750’
(inv. 54.261; L.Y. Leach, Indian Miniature Paintings and Drawings – The
Cleveland Museum of Art, Indiana, 1986, ill. no. 63, p.173). Four folios
from a closely related ragamala set, attributed to Amber or Jaipur, are 19
published in V. Ducrot, Four Centuries of Rajput Painting, Milan, 2009,
JAI 6-9, pp.159-163.
19
AN ILLUSTRATION TO A RAGAMALA SERIES: TODI RAGINI
Opaque pigments heightened with gold on paper, the heroine
surrounded by deer and musicians, in a hilly and forest landscape, fve
lines of black devanagari script in a yellow cartouche above, in black
and white rules and red margins
11Ω x 8ºin. (29.2 x 21cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
20
AN ILLUSTRATION TO A RAGAMALA SERIES: GAUNDKARI
RAGINI
Opaque pigments heightened with gold on paper, the heroine seating
on a fowery cushion surrounded by peacocks, a deer and musician,
in a hilly landscape, fve lines of black devanagari script on yellow
background above, in black and white rules and red margins
11Ω x 8ºin. (29.2 x 21cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
PROVENANCE:
Acquired at The Arcade Gallery, London, 18 September 1978
20
Opposite: lot 18 Other fees apply in addition to the hammer price – see Section D of our Conditions of Sale at the back of this Catalogue 19
LAUSANNE TO LUCKNOW:
PAGES FROM THE FAMED POLIER ALBUMS
The following four lots are from three diferent Polier Albums. Antoine Louis Henri Polier, born in Lausanne in 1741, entered the service of the British East India
Company as a surveyor in 1757. By 1762, he had become Chief Engineer of the Bengal Army in Calcutta and began working on the design and construction
of the new Fort William; he then rose to the rank of major and took command of the Fort Garrison. Though Polier was frst sent to Awadh as a surveyor, it was
recommended to the Nawab Shuja’ al-Daula that he be made the chief architect for the kingdom of Awadh - and be the eyes and ears of the British East India
Company at the Nawab's court. Polier became wealthy from his commissions for court buildings as well as from private trading, and he built a palace in Lucknow
that he called Polierganj or "Polier's Treasure Trove." Polier was dismissed from the service of the Nawab of Awadh in 1782, and was asked by Warren Hastings to
remain in Lucknow as an appointee of the Company with the honorary rank of Lieutenant-Colonel, as Polier's knowledge of Awadh was considered essential to the
Company’s interests. After 30 years in India, Polier left in 1787 and settled in France where he was murdered in a robbery in 1795.
During his time in India, Polier collected Persian and Sanskrit manuscripts and Indian miniatures, and he possessed a complete collection of the Vedas. His
collection began with a gift of three albums given to him in 1767, which inspired him to assemble further albums including scenes of Indian life that were being
created to satisfy Western taste. He collected the antique works he could fnd, and also commissioned new works, principally through his favoured retained artist
Mihr Chand who was largely responsible for arranging the layout and decoration of the albums made for his collection of paintings. The distinctive mount with a
broad band of naturalistic fowers between two narrow borders with stylized foral motifs, the overall palette, and the handwritten inscription in French on lot 24,
indicate that this and the following three paintings were commissioned by Polier.
21
A DETACHED FOLIO FROM A POLIER
ALBUM: MULLAH SHAH BADAKHSHI
(D. 1635)
LUCKNOW, PROVINCIAL MUGHAL INDIA,
MID-18TH CENTURY; THE CALLIGRAPHY
SIGNED MUHAMMAD 'ALI, INDIA, DATED AH
1194/1780-81 AD
facing right, holding a pomegranate, a brown
shawl thrown over his shoulders, laid on card,
with wide foral borders between simple gold
foral margins on blue ground ; the reverse with a
nasta'liq quatrain in similar margins and borders
Folio 15Ω x 11ºin. (38.4 x 28.5cm.), the painting 8
x 4¿in. (20.4 x 10.4cm.), the quatrain 6æ x 4in. (17
x 10.2cm.)
£6,000–8,000 $8,200–11,000
€6,800–9,100
PROVENANCE:
Acquired at Maggs Bros., London, 24 June 1976
The obverse of our album page bears a portrait

of Mullah Shah Badakhshi (1550–1635) who was
a Suf of the Qadiri order. He acted as teacher
to the Mughal Prince Dara Shikoh and his
sister Jahanara Begum (Annemarie Schimmel,
The Empire of the great Mughals: history, art
and culture, London, 2004, p.135). The Royal
Collection Trust houses another portrait of
Mullah Shah Badakhshi, which is very similar to
ours (inv. no. RCIN 1005038). The reverse bears
a quatrain by the Persian poet, Sa’di, signed by
Muhammad ‘Ali who was a master calligrapher
active in Lucknow and whose work features
on many known Polier albums. A Polier album
housed in the Victoria and Albert Museum which
is purely dedicated to calligraphy bears a number
of further specimens by Muhammad Ali (inv.
no. 4765-1858). For further examples of folios
from the Polier Album see volume I. 4593 at the
Museum für Islamische Kunst, Berlin.
(reverse)
(reverse)
22
A DETACHED FOLIO FROM A POLIER ALBUM: A PRINCESS AND HER CHAPERONE
LUCKNOW, PROVINCIAL MUGHAL INDIA, CIRCA 1760; THE QUATRAIN, SIGNED HAFIZ
NURULLAH, INDIA, CIRCA 1760
Opaque pigments heightened with gold on paper, her clad in an orange sari, the chaperone dressed in
white and holding a staf, laid on card between simple gold foral margins on pink and blue ground, with
wide foral borders, numbered 10 in black ink below ; the reverse with a nasta'liq quatrain in similar margins
and borders
The folio 15º x 11¿in. (38.8 x 28.2), the painting 6Ω x 4ºin. (16.5 x 10.8cm.), the quatrain 7 x 3Ωin. (17.8 x
8.8cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
For a note on Hafz Nurullah see previous lot.
(reverse)
23
A DETACHED FOLIO FROM A POLIER ALBUM: A PRINCESS Many calligraphic specimens in Polier albums which are signed by
HOLDING A CANDLE Muhammad ‘Ali (see previous lot), are accompanied by calligraphic
LUCKNOW, PROVINCIAL MUGHAL INDIA, CIRCA 1760; THE compositions signed by the calligrapher Hafz Nurullah, who was also active
QUATRAIN, SIGNED HAFIZ NURULLAH, INDIA, CIRCA 1760 during the reign of Asafal-Daula (r.1775-1797). Ghulam Muhammad who met
Opaque pigments heightened with gold on paper, elegantly dressed, facing Hafz at his home in Lucknow praises him as one of the greatest masters
left, holding the frework in her right hand, laid on card between simple gold of the nasta‘liq style of the time (Dihlavi, Ghulam Muhammad Haft-Qalami.
foral margins on pink and blue ground, with wide foral borders, numbered 10 The Tadhkira-I Khushnavisan of Mawlana Ghulam Muhammad Haft-Qalami
in black ink below ; the reverse with a nasta'liq quatrain in similar margin on Dihlavi. Edited by M. Hidayat Husain. Calcutta: Baptist Mission Press, Asiatic
blue ground and borders Society, 1910,p.64-65). Hafz’s works were highly sought after in Lucknow
The folio 15Ω x 11Ωin. (39.4 x 29.2cm.), the painting 6 x 3æin. (15.2 x 9.5cm.),
and sold at extremely high prices. The following two lots are both signed by
the quatrain 8¬ x 4¬in. ( 21.8 x 11.7cm.)
this calligrapher and come from the same album. The quatrain on this folio is
£5,000–8,000 $6,800–11,000 by the Persian poet, Sa’di.
€5,700–9,100
PROVENANCE:
Acquired by Sir Thomas Phillipps in 1834 (Phillipps MS 6730)

Maggs Bros, London, Bulletin no. 24, vol. VII, part 3, cat. 207, December 1975
23
(reverse)
24
A DETACHED FOLIO FROM A POLIER ALBUM: AN ASSEMBLY OF This album page bears a note by Polier describing the painting scene and the
DERVISHES number 28. The previous page of this album which also bears a hand-written
LUCKNOW, PROVINCIAL MUGHAL INDIA, CIRCA 1760; THE note by Polier and was numbered 27, sold at Christie's, London, 25 May 2017,
CALLIGRAPHY, SIGNED MUHAMMAD MURAD, INDIA, MID-18TH
lot 98. The French inscriptions only appear between 1767-68, after which
CENTURY
time Polier began to annotate his albums in Hindi and Urdu, which he learned
Opaque pigments heightened with gold on paper, each to his own occupations while at court. For Polier albums with inscriptions in the same hand, see R.
or in conversation with the other, a shelter beneath a tree in the background,
Hickman & Enderlein, Indische Albumblatte, Leipzig, 1979, cat. nos. 1, 11, 21,
in gold scrolling margins on blue ground, with wide foral borders in thing gold
39, 43 and 51. For a detailed note on Polier see the introduction, before lot 21.
and black rules; the reverse with a nasta'liq quatrain in foral margins on blue
ground
The reverse of this folio bears the Nada ‘Ali prayer and is signed by
Folio 13æ x 9æin. (356 x 24.8cm.), the painting 8º x 5ºin. (21 x 13.4cm.), the
quatrain 9 x 5ºin. (23 x 13.4cm.) Mohammad Murad, who was a student of Muhammad Husayn Kashmiri, a
master of nasta’liq. The Royal Collection also houses a calligraphy panel by
£7,000–10,000 $9,600–14,000 Muhammad Murad (inv. non. RCIN 1005066).
€8,000–11,000
PROVENANCE:
Acquired from the Arcade Gallery, London, 16 July 1976
INSCRIPTION:
In Antoine Louis Henri Polier's hand: 28. Assemblée de buveurs de Bang
25
A PRINCE AND A PRINCESS HOLDING FIREWORKS
PROVINCIAL MUGHAL INDIA, CIRCA 1750-60
Opaque pigments heightened with gold on paper, depicted facing each other, the princess holding the
branch of a tree, laid on card between gilt foral borders within gold and black rules, the reverse with fne
foral composition in gold and polychrome, with old collection label
7Ω x 6ºin. (19 x 15.8cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
PROVENANCE:
Acquired from The Arcade Gallery, London, 8 November 1976
25
26
AN ILLUSTRATION FROM THE (SECOND) GULER RAMAYANA This beautifully rendered painting depicts Rama standing with folded hands
SERIES: RAMA, LAKSHMANA AND SITA AT BHARADVAJA’S in front of the sage Bharadvaja at his hermitage. Sita and Lakshmana stand
HERMITAGE behind him followed by the monkey army and Vibhishana, the younger
GULER, PUNJAB HILLS, NORTH INDIA, 1790-1800 brother of Ravana, the King of Lanka. Ram, Sita and Lakshmana had come to
Opaque pigments heightened with gold on paper, Rama, Sita and the visit Bharadvaja at the same hermitage at the beginning of their fourteen-
vanarasena greet the hermit, in dark foral margins, within red rules, with pink year exile. He had ofered them counsel and shelter. Having defeated Ravana
speckled borders, the reverse with a faint 2 ll. pencil inscription in takri at Lanka, Rama is now ready to return home, to the kingdom of Ayodhya, and
10º x 14in. (26 x 35.6cm.) has come to bid Bharadvaja farewell. The resplendent golden chariot behind
£15,000–20,000 $21,000–27,000 them, known as the Pushpaka Vimana, will transport them back to Ayodhya.
€17,000–23,000 It was taken by Ravana from Kubera, the god of wealth, and will be returned
back to him by Rama.
PROVENANCE:
Acquired from P. Delplace, Antiquités, Bijoux, Objets de collection, 30 rue de Another illustration from Book Six depicts Ram, Sita, Lakshmana and the
Namur, Brussels monkey army seated inside the golden chariot about to begin their return
to Ayodhya. Vibhishana, the new king of Lanka, stands outside the chariot
This illustration is from a series knows as the (second) Guler Ramayana casting gold coins over those seated inside. J.P. Losty dates this illustration
attributed to the frst generation of artists after Manaku and Nainsukh. to circa 1800 and attributes it to an artist from Guler (J.P. Losty, A Mystical
The frst section of the series, dating to circa 1780, is known as the Realm of Love - Pahari Paintings from the Eva and Konrad Seitz Collection,
“Kangra Ramayana series, circa 1775-1780” by W.G. Archer and also as the London, 2017, no. 22, pp.122-123). Losty notes that the human faces are
“Bharany Ramayana”. It comprises illustrations from the frst three books depicted with an angular profle characteristic of the Guler style and sharp
of the Ramayana. The second section of the series comprises illustrations noses which bear the infuence of Nainsukh rather than the smoother profle
from Books Five and Six. Our illustration comes from the second section usually associated with Kangra. This suggests that it is quite likely this
and belongs to Book Six, the Yuddhakanda or the Book of War. Goswamy second part of the series was painted in Guler during the last years of Raja
and Fischer date this second section to circa 1790 and have listed known Bhup Singh’s reign prior to its annexation by Sikh forces in 1813 (J.P. Losty,
paintings from this section of the series (M.C. Beach, E. Fischer, B.N. op. cit., p.119).
Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p.690).
For two other folios from the second half of this series which have sold at
auction, see Bonhams, New York, 11 September 2012, lot 89; and Sotheby’s
New York, 21 March 2012, lot 210.
27
A PAINTING FROM A NAYIKA SERIES: ABHISARIKA
NAYIKA
KANGRA, PUNJAB HILLS, NORTH INDIA, CIRCA 1820
Opaque pigments heightened with gold on paper, crossing the
forest at night to meet her lover, the heroine encounters a demon
and she drops her jewellery at her feet, snakes around, in dark
foral margins, with pink speckled borders within thin red rules
10 x 8in. (250.4 x 20.4cm.)
£3,000–4,000 $4,100–5,400
€3,400–4,500
28
AN ILLUSTRATION TO A BOOK OF DREAMS
UDAIPUR, MEWAR, RAJASTHAN, CIRCA 1700-25
Opaque pigments on paper, the boar realistically depicted in a
leafy landscape, two lines of black devanagari script on yellow
ground above, in thin yellow margins within black rules, in red
borders, the reverse with old sale label
10 x 8Ωin. (25.5 x 21.6cm.)
£3,000–4,000 $4,100–5,400
€3,400–4,500
PROVENANCE:
Christie's Amsterdam, 12 October 1993, lot 34
EXHIBITED:
Indian Miniature Paintings c.1590-c.1850, Amsterdam, 1

October-30 November 1987, no.23
LITERATURE:
J. Bautze, Indian Miniature Paintings c.1590-c.1850, exhibition

catalogue, Amsterdam, 1987, no.23, p.61
The Book of Dreams is a collection of Sanskrit verses, the

last part of which usually mentions what is depicted in the
associated painting, in this case, a boar. A folio from the same
Book of Dreams in the Los Angeles County Museum of Art,
depicting Chandra, the Moon God (https://collections.lacma.
org/node/248100). That is attributed to Udaipur circa 1700-
1725. Another sold at Christie’s, South Kensington, 11 October
2013, lot 507.
29
A JINA ENTHRONED
JAIPUR, RAJASTHAN, NORTH INDIA, 19TH CENTURY
Opaque pigments on cloth, in the middle of a multi-walled palace laid out as a mandala, mounted
19æ x 21¿in. (50.2 x 53.4cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
PROVENANCE:
Acquired at Polak Works of Art, Amsterdam, 21 December 2004
29
31
VARIOUS PROPERTIES
~ 30
A FINE MUGHAL IVORY-INLAID WOODEN CABINET primary focus of decoration. During his reign similar foral motifs to those
GUJARAT OR SINDH, WESTERN INDIA, 17TH CENTURY seen on our cabinet were found on a wide variety of media – such as the
Of rectangular form, the front with two hinged doors opening to reveal eleven borders of the famous later Shah Jahan albums (see for example those
drawers, the exterior surfaces with borders of ivory-inlaid scrolling foral vine ofered at Christie's London, most recently 26 October 2017, lots 180 and 181)
and the interior surfaces profusely decorated with individual ivory-inlaid foral or the decoration of buildings erected by the Emperor, such as the Saman
sprays within chequered borders, with two metal lock plates to the front of the Burj, Agra Fort (ca. 1637) or the Diwan-i ‘Amm in Ajmer as depicted in the
doors and each of the drawer fronts with metal knops and pull-rings
Padshahnama (Milo Cleveland Beach and Ebba Koch, King of the World. The
22√ x 16√ x 16√in. (58 x 43 x 43cm.)
Padshahnama, exhibition catalogue, London, 1997, no.5, pp.28-29). By the
£40,000–60,000 $55,000–81,000 second half of the 17th century similar motifs were popular also for cabinets
€46,000–68,000 (Basil Gray (ed.), The Arts of India, Oxford, 1981, p.180).
The ornament on ivory-inlaid furniture made in western India in the mid to Around the end of the 17th century, two-door cabinets of this type replaced
late 17th century refects more closely the Mughal court style than earlier portable fall-front cabinets as the leading form produced by furniture makers
examples from the region. The change in design was matched also by an in western India. This new confguration was introduced as the result of
improvement in the quality of the inlay itself. The rounded trees and dense Western infuence – where cabinets were increasingly devised as showpieces
foliage of earlier inlaid furniture, which was occasionally highlighted in pink mounted on stands (Jafer, op.cit., no.25, p.65). Whilst cabinets of this form,
or green-stained ivory, was replaced by rows of individual fowering plants often lacquered or painted rather than inlaid, were certainly used in India,
executed in monochrome against a plain background as we see decorating and there normally housed on the foor as depicted in Indian miniature
the interior of our cabinet here. paintings, many similar cabinets entered the collections of European
aristocratic houses in the 17th and 18th centuries (Gray, op.cit., p.179).
This ‘fower style’ is commonly identifed with the Mughal Emperor Shah
Jahan, but was not a sudden or spontaneous emergence (Amin Jafer, Luxury A similar cabinet is in the Victoria and Albert Museum, on loan from Dr. and
Goods From India. The Art of the Indian Cabinet-Maker, London, 2002, p.62). Mrs. Poteliakhof (Amin Jafer, op.cit., pp.64-65). Another was with Spink and
Rather it followed on from a long-standing Mughal appreciation for fowers Son (published Gray, op.cit., fg.195, p.178). Another sold at Christie’s, London,
that since the days of Akbar had manifested itself in courtly painting and 23 April 2015, lot 113.
decorative arts. It was under Shah Jahan (r. 1628-58) however that the use
of foral motifs were treated not as secondary decorative elements, but the For a smaller example, and a short note on attribution, see lot 34 in this sale.
■ 31
A LARGE MUGHAL TENT WALL PANEL
NORTH INDIA, 18TH CENTURY walls seven or eight feet high. He wrote, ‘these kanates are of strong cloth
Decorated with large foral sprays within cusped arches framed by foliate and which was lined with chittes [chintz] or cloths painted with portals with a
foral tendrils, the borders with rows of pointed arches inhabited by birds and great vase of fowers’. He records that the emperor’s private quarters were
fowers, backed, patched, corrosion of green pigment, in fragile condition enclosed with smaller fowered qanats and that ‘beautiful chittes of painted
179 x 102in. (454.7 x 259cm.) fowers’ lined the interiors (quote in Joseph M. Dye III, The Arts of India,
Virginia, 2001, p.467). The spectacular display of a tent that once belonged
£8,000–12,000 $11,000–16,000
to Tipu Sultan, probably made in Burhanpur, Deccan, circa 1725-50 and
€9,100–14,000
recently reconstructed for The Fabric of India exhibition at the Victoria and
PROVENANCE: Albert Museum, London, gave an impressive illustration of what these tents
Sotheby's, London, 28 April 1994, lot 289 would have looked like (Rosemary Crill (ed.), The Fabric of India, exhibition
catalogue, London, 2015, cat. 131, pp.124-126). A Mughal Deccani tent canopy
This elegant panel was probably made for a princely or royal tent. The lavish recently sold at Christie’s, London, 26 May 2016, lot 14.
decoration of these tents would refect the royal wealth and the majesty of
the king’s presence. They were favoured by Mughal rulers who saw these Closely related Mughal hangings are in the Calico Museum, Ahmedabad
as part of their Central Asian heritage. In Abu al-Fazl’s chronicle of Akbar’s see J. Irwin and M. Hall, Indian Painted and Printed Fabrics. Historic Textiles
reign, he notes that they are ‘an excellent dwelling place, a shelter from heat of India at the Calico Museum, Ahmedabad, 1971, nos.21 and 22, pp.30 and
and cold […] as the ornament of royalty’. Much later, François Bernier noted 33, pl.11. These are both dated to the 18th century. Another is in the Virginia
that in 1664 the royal enclosure of Aurangzeb’s camp was surrounded by tent Museum of Fine Arts (Dye, op.cit, 2001, no.224, p.467).
33
32 33 (front)
32 33
A DOUBLE KNEELING PORTRAIT OF SAYYID HUSAYN ALI KHAN A DOUBLE-SIDED ALBUM PAGE: A NOBLEMAN SMOKING A
AND HIS SON HUQQA ON A TERRACE AND AN EQUESTRIAN PORTRAIT
PROVINCIAL MUGHAL INDIA, CIRCA 1760 PROVINCIAL MUGHAL INDIA, SECOND HALF 18TH CENTURY
Opaque pigments heightened with gold on paper, the young prince ofering Opaque pigments heightened with gold on paper, depicting a nobleman
pan to a ruler reclining on a red bolster, on a terrace, near a river, a mountainous seated on a terrace smoking a huqqa; the reverse with a noble on horseback,
landscape in the background, in gilt foral margins on light bleu ground, within within narrow dark blue margins comprising gilt foral motifs, with wide gold
red and blue rules, with gold speckled borders, two identifcation inscriptions speckled borders, inscriptions in black nasta'liq script in upper borders to both
below sides
10½ x 7¬in (26.8 x 19.4cm.) Painting (seated ruler) 8Ω x 5¬in. (21.6 x 14.4cm.); (ruler on horseback) 9Ω x
7in. (24.2 x 17.9cm.); folio 13æ x 9ºin. (35 x 23.5cm)
£3,000–5,000 $4,100–6,800
€3,400–5,700 £5,000–8,000 $6,800–11,000
€5,700–9,100
Husayn Ali Khan Bahadur was Nawab of Banganapalle, a town in the state
of Andhra Pradesh, India between 1769 and 1783. He belonged to the INSCRIPTION:
Naqdi Dynasty. He was granted the personal title of Khan Bahadur on 11 Green ground: tasvire doroudiyeh nawab muhammad muzafar khan bahadur
safdar jang se zaribo(?) mafdoud(?) kheyl va chouri ke dar dast darad khan
February 1765, succeeding as Jagirdar of Banganapalle on the death of his
Muhammad gholam Sarkar ast, 'Image of his highness Nawab Muhammad
unmarried uncle on 7 April 1769. He died while returning to Banganapalle
Muzafar Khan Bahadur Safdar Jang...Kheyl (clan title) and the fy whisk
from Mysore on 26 August 1783 and was succeeded by his young son, [holding] attendant is khan Muhammad his servant'
Ghulam Muhammad Ali, with Ghulam's paternal uncle as regent. Given the White ground: name asb savari kouhbaz va esme sahebash shadi ast, 'The name
absence of his Bahadur title in the portrait we can assume that the work was of the horse rider is Kouhbaz and his owner’s name is Shadi (happy)'
completed before 1765.
~ 34
According to an inscription on the border of this painting, the sitter is Rukn A MUGHAL IVORY-INLAID WOODEN CABINET
al-Daula Nawab Hajj Muhammad Muzafar Khan Bahadur Safdar Jang, NORTH WEST INDIA, LATE 17TH CENTURY
accompanied by an attendant. Haji Muhammad Muzafar was born in Multan Of rectangular form with fall-front concealing eight drawers, each surface
in 1757 and became the Subadar (Governor) of Multan between 1780-1807 of the box decorated with a central panel of large ivory-inlaid foral sprays
and 1808-1818. He was granted the titles of Nawab, Bahadur, Safdar Jang within a minor geometric border, around this a wider border of rosettes on
and Rukn ud-Daula in 1780. He was an important fgure who founded the ivory ground, each of the drawers with similar foral motifs within chequered
town and fort of Muzafargarh in 1794. The reverse of the painting depicts borders and painted ivory knobs, locks a later replacement
11æ x 9¿ x 7√in. (30 x 23.3 x 20cm.)
a rider and his attendant who are also both identifed with generic names
which are dificult to read. Both paintings are the work of the same artist as £8,000–12,000 $11,000–16,000
is evidenced by the use of an almost identical model for the main fgure on €9,100–14,000
both sides. Due to the lack of any other known portraits of Haji Muhammad
Muzafar it is dificult to be certain whether our painting which has been Cabinets with a similar decorative composition are commonly attributed
identifed as him is a true likeness. to Gujarat or Sindh, notably on the basis of contemporary accounts from
European travellers to India. According to the Dutch merchant Francisco
Pelsaerts, in 1626, Tatta in Sindh, was a centre of manufacture for
'ornamental desks, writing cases [...] very prettily inlaid with ivory and ebony'.
Surat in Gujarat, according to James Ovington was a source of 'Desks,
Sutores and Boxes neatly polisht and embellisht' in the late 1680's (Amin
Jafer, Luxury Goods from India, London, 2002, p.18.) A similar fall-front
casket attributed to 17th century North-West India was sold in these Rooms,
25 April 2013, lot 164.
For a related example, and a note the type, see lot 30 in this sale.
35
PROPERTY FROM THE ESTATE OF THE LATE SIMON DIGBY
35
ABU AL-QASIM FIRDAWSI (D. 1025): SHAHNAMA
MUGHAL INDIA, 17TH CENTURY
Persian manuscript on paper, comprising 26 loose folios plus one smaller
folio, the group of large folios with 29ll. of neat black nasta'liq arranged in four
gold-outlined columns, catchwords, twenty-two contemporaneous miniatures
in opaque pigments heightened with gold, 5 illuminated headpieces, some
faking of paint and light staining, small areas of worming
Large folios: Folio 12æ x 8√in. (32.5 x 22.5cm.); text panel 9º x 5¡in. (23.5 x
13.6cm.)
Small folio: Folio 8æ x 5in. (22 x 12.7cm.); text panel 6æ x 3¡in. (17 x 8.5cm.)
(26)
£6,000–10,000 $8,200–14,000
€6,800–11,000
Although the Shahnama is the national epic of Iran, its popular text with
fascinating mythical rulers was also copied in India. While no illustrated
Shahnama text produced for the Imperial Mughal court has survived, there
are a small number of seventeenth century illustrated Mughal copies known,
which were produced for Mughal noblemen. One of these is housed in the
British library (Add.MS 5600) which was prepared in the studio of the great
noble ‘Abd al-Rahim the khan-i-khanan around 1616. Although the latter
contains signed illustrations by painters who were in some ways associated
with the royal studio, other known copies of the Shahnama from the period
were in a diferent style, distinguished by fat grounds of two or more colours
and simplifed fgures in a ‘Popular’ Mughal style. Our manuscript folios are
illustrated in the same Popular Mughal style which is also seen in a complete
Shahnama in the Metropolitan Museum, dated to 1601 (inv. no. 13.228.22)
and another copy dated 1603, published in Francesca Galloway, Springar,
An Exhibition Celebrating Divine and Erotic Love, London, 2007, pp.12-17.
The illustrations in these manuscripts and ours share the same small scale
miniatures and the lack of interest in spacial recession by the artist. This is
seen with the use of bands of two or more colours forming the ground and
a small horizon of distant hills shown on a few scenes. Due to the variety
of diferent fgures and techniques used throughout the manuscript, it is
evident that the illustrations were completed by at least two diferent artists.
The latter examples are slightly earlier than ours and bear illustrations which
are executed with the use of a much fner brush and depict a Shiraz style
landscape strewn with foral designs. The slightly more vivid and stronger
colours used on our manuscript further indicate its provincial production
and style of the work which is slightly removed from the imperial style and is
reaching the epitome of the Popular Mughal style prevalent at the time.
VARIOUS PROPERTIES
* 36
AN ILLUSTRATION TO A RAGAMALA
SERIES: BHAIRAVI RAGINI
DECCAN, CENTRAL INDIA, LATE 18TH
CENTURY
Opaque pigments on paper, a lady worshipping
the lingam at a riverside shrine, at night, in thin
gold margins, within black rules, in wide faded pink
borders, an erroneous identifcation inscription in
black nasta'liq above (Bangali Ragini Dipak), the
reverse with three further similar inscriptions in
Kannada, nasta 'liq and devanagari scripts
13 x 8Ωin. (33 x 21.6cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
37 No Lot
37
38
38
A NOCTURNAL VISIT TO A SHRINE
AWADH, PROVINCIAL MUGHAL INDIA, SECOND HALF 18TH
CENTURY
Opaque watercolour heightened with gold on paper, depicting a lady at a
shrine, a nobleman carrying a sword standing in the bushes outside glancing
back at a group of armed soldiers approaching, dead corpses lying before
the shrine, set at night under a full moon, with an erroneous attribution to
Govardhan in black nasta'liq, Urdu numeral '4 ' below, within polychome rules,
laid down on an album page with gold speckled margins
Painting 4¬ x 7¬in. (11.8 x 19.5cm.); folio 10¡ x 13¡in. (26.3 x 33.9cm.)
£5,000–7,000 $6,800–9,500
€5,700–7,900
39
AN EQUESTRIAN PORTRAIT OF CHAND BIBI HAWKING
PROBABLY DECCAN, CENTRAL INDIA, EARLY 18TH CENTURY
Opaque pigments heightened with gold on paper, richly attired, riding a
chestnut steed, a hawk on her left arm, within black and white rules, with plain
borders, the reverse with old auction house label and notes in red pencil
8√ x 5æin. (22.6 x 14.6cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
PROVENANCE:
Bonhams, London, 12 October 2006, lot 246

39
This painting of Chand Bibi (d.1599) is a skilful
example of a subject that achieved fame in
Deccani painting. The wife of Ali Adil Shah
I of Bijapur, she was a legendary queen of
Ahmadnagar in the Deccan, known to have
courageously protected her fortress against the
Mughal army in the sixteenth century (Mark
Zebrowski, Deccani Painting, London, 1983, p.
233). Although she is often depicted riding a
white horse whose lower half or feet are coloured
in red, to symbolize its wading through blood (or
bravery in battle), here the artist has chosen to
paint the entire horse a chestnut colour which is
not as common. The fgure is executed on a plain
background of blue on a green ground which was
a feature of 18th century Deccani paintings.
Other paintings of Chand Bibi hawking on a

horse back are in the Metropolitan Museum
of Art (1999.403), the Victoria and Albert
Museum (AL.8800) and the British Museum
(1951,0407,0.24). Examples sold at auction
include Sotheby’s, London, 6 April 2011, lot 248.
40
A PRINCE AT LEISURE
MUGHAL STYLE AT BIKANER, RAJASTHAN,
NORTH INDIA, FIRST HALF 18TH CENTURY
reclining against a bolster, fanked by courtesans,
one handing him a foral garland, listening to
female musicians, cropped, the reverse with old
reference numbers and notes in ink and pencil
13Ω x 9æin. (34.4 x 24.8cm.)
£8,000–12,000 $11,000–16,000
€9,100–14,000
PROVENANCE:
Private collection, Toronto

Estate of Theodore Allen Heinrich (1910-81).
Professor Heinrich was a curator, educator and
art historian. Between 1955 and 1962 he was
the director of the Ontario Museum, and later
taught art history at the Universities of York and
Saskatchewan.
Bikaner is a town in Rajasthan, recognised for

a style that combines inspiration from both the
Mughal workshops and the Deccan. Little is
known about the earlier phase of this school of
painting. Two clans produced the majority of 40
Bikaner’s painters. Ruknuddin (ca. 1650-1697),

who had an impressively long career, was one of
Bikaner’s most established artists. His work was
highly admired and inspired many later artists
such as the unknown painter of our painting. For
a painting by Ruknuddin see The Metropolitan
Museum of Art, 'Divine Pleasures: Painting from
India's Rajput Courts - The Kronos Collection'
2016, pl.22, p.94-95.
39
41
41 42
EIGHT COLOURED GLASS ROSEWATER SPRINKLERS A BIDRI BASIN
MUGHAL INDIA, LATE 18TH/EARLY 19TH CENTURY BIDAR, DECCAN, CENTRAL INDIA, 19TH CENTURY
Each on splayed foot, the bulbous body rising to a ringed tapering neck, six Of squat globular form, the silver inlaid decoration consisting of repeating
gadrooned floral quatrefoils within lobed medallions between two registers of scrolling
The largest 8¿in. (20.7cm.) floral tendrils, the inside lip with a similar register
(8) 6æin. (17.2cm.) diam.
£15,000–20,000$21,000–27,000 £3,000–5,000$4,100–6,800
€17,000–23,000 €3,400–5,700
PROVENANCE: PROVENANCE:
The Plesch Collection ; acquired Spink and Son, London in June 1963 James Broun-Ramsay (1822-1860), 1st Marquess of Dalhousie and Governor-
General of India (1848-1856).
Stefano Carboni illustrates and discusses a number of similar rosewater
sprinklers in the al-Sabah Collection (Stefano Carboni and David The technique of bidriware is thought to have originated in the city of Bidar
Whitehouse, Glass from Islamic Lands, 2001, pp. 391-393, cat. 143 and 144). in the Deccan, from where it takes its name. Bidri is cast from an alloy of
He argues these rosewater sprinklers were in fact made in England for the which the predominant component is zinc together with small amounts of
Indian market, but also notes the suggestion of Moreshwar Dikshit that the copper and tin, to which is added varying proportions of lead. The vessels
sprinklers may have been made in the Kapadvanj Peninsula in Gujarat. The are then inlaid or overlaid with silver, brass and sometimes gold. A mud
glass here is brighter and clearer with fewer bubbles than other examples of paste containing sal ammoniac is applied which turns the alloy permanently
Indian glass but the unfinished rim is a feature that one would not expect to a rich matte black in contrast to the glittering silver and other metals which
find on an English object of the eighteenth or nineteenth century. are unaffected by the paste (John Guy and Deborah Swallow, Arts of India:
1500-1900, 1990, pp.118 and 199, Stuart Cary Welch, India: Art and Culture
1300-1900, 1985, p.322).
42
41
43
TWO STEEL ELEPHANT GOADS (ANKUS)
MUGHAL INDIA, LATE 17TH/EARLY 18TH
CENTURY
Of typical form, the hooks worked as a peacock or
a peahen turning its head backwards to peck and
preen its feathers, the handle with lotus bud finial
and rising to an elongated and facetted tip with
sharp point
16¬in. (42.4cm.) long(2)
£8,000–12,000 $ 11,000–16,000
€ 9,100–14,000
The scale and delicacy of ornament of these fine

elephant goads make them particularly suited
for every day as opposed to a ceremonial usage
within a regal context. Though small, the goads
are surprisingly substantial in weight, allowing for
the slightest touch to register with sufficient force
to control and direct the elephant
44
A GEM-SET JADE-HILTED CURVED
WATERED-STEEL DAGGER (KHANJAR)
With double fuller and reinforced tip blade, the
pistol-hilt grip engraved with floral sprays rising
43 from the quillons, the pommel with further floral
decoration and set with emeralds within gold
roundels
15Ωin. (39.4cm.) long
£6,000–8,000$8,200–11,000
€6,800–9,100
45
A GREEN JADE HILT
Of pistol-grip form, the quillons and pommel
engraved with rising floral sprays
5in. (12.8cm.) high
£3,000–5,000$4,100–6,800
€3,400–5,700
PROVENANCE:
Private European Collection, acquired in London in

the late 1960s or early 1970s
45
44
46
A GOLD-DAMASCENED AND WATERED-
STEEL PUSH-DAGGER (KATAR)
MUGHAL INDIA, SECOND HALF 18TH
CENTURY
Of typical form, the double fuller blade with
reinforced tip, the hilt and cross bars damascened
with a continuous and scrolling foral tendril
16¿in. (41cm.) long
£2,500–3,500 $3,400–4,800
€2,900–4,000
~ 47
AN IVORY-HILTED DAGGER (MORO
BARUNG)
PHILIPPINES, 19TH CENTURY
The blade of typical form with single curved edge,
the pommel worked as a bird's head
16Ωin. (42cm.) long
£3,000–4,000 $4,100–5,400
€3,400–4,500
48
A BRASS MODEL OF A PRANCING STEED
NORTH OR CENTRAL INDIA, CIRCA
17TH/18TH CENTURY
Realistically cast, richly harnessed, engraved with
foral motifs, its back ftted with a sliding rail for a
now lacking mounted fgurine, on stand
8Ωin. (21.5cm.) high, 8in. (20.4cm.) long
£8,000–12,000 $11,000–16,000
€9,100–14,000
This prancing model of a horse fnds direct

parallel in Rajput paintings. Portraits of
horses bedecked in elaborate harnesses and
rich saddles, their manes braided and laden
with jewels, laces and ornaments and led by
grooms astutely kept out of the viewer’s focus
are recurrent in Rajput art, as seen in lot 15 in
this sale. This model shows the elegance and
adornments of a princely steed. Brass models
are not common in India. Copper alloy models
of infantry, cavalry or artillery men, however, can
be found at the Ashmolean Museum, Oxford.
Its collection includes a war elephant engraved
1795 on its forehead and Vizagapatam on its
rump (S. Digby, and J. C. Harle, Toy Soldiers and
Ceremonial in Post-Mughal India, Oxford 1982).
An earlier brass model of a standing horse, also

without a rider, attributed to 16th or 17th century
north India sold at Christie’s, London, 8 October
2015, lot 146. It shares with our horse a generous
belly, strong neck, elegant head and overall
proportions suggesting a courtly commission
executed by north Indian ateliers.
46 47
48
49
49
A FINE INDO-PORTUGUESE SILVER-GILT FILIGREE From the late sixteenth century, Goa was the main hub for the
CASKET introduction, manufacture, and trade of prized objects and rarities.
PROBABLY GOA, WEST INDIA, 17TH/18TH CENTURY The Mughal and Deccani courts were often presented with goods
Of rectangular form, with bevelled hinged lid, the body decorated imported from Europe; their arrival inspiring the local production
with openwork silver fligree scrolls, turned columns to all four corners of new designs to suit Portuguese taste. Gold and silverwork,
with twisted silver wire, resting on a pedestal supported by raised especially with gold fligree and in both open and closed styles were
openwork fligree feet, two twisted handles to each side particularly developed by the craftsmen. Superbly strained wires of
8 x 14.6 x 11cm (3¿ x 5æ x 4¡in.)
gold and silver fligree were formed into a wide range of scrolling
£10,000–12,000 $14,000–16,000 forms such as those present on the ornamented exterior of this
€12,000–14,000 casket. For comparable examples sold at auction see Sotheby's,
London, 24 April 2013, lot 218 and Christie’s, London, 10 June 2015,
lot 20. A similar example is in the Museum Nacional de Arte Antiga,
Lisbon (inv. no. 384).
50
AN AMBER INSET PARCEL-GILT SILVER FILIGREE BOX
PROBABLY GUJARAT, NORTH WEST INDIA, LATE 17TH
CENTURY
Of oval form with separate lid, the surfaces applied with tight fligree
scrolls, on the base surrounding a central fower head, the lid set with
a central domed amber panel
2√in. (7.5cm.) wide
£10,000–12,000 $14,000–16,000
€12,000–14,000
PROVENANCE:
The Albert Collection, Christie's, London, 10 June 2010, lot 280

Christie's, London, 5 October 2010, lot 364
50 LITERATURE:
R. Butler, The Albert Collection, 500 Years of British and European

Silver, Woodbridge, p. 11, no. 545
The work of this box is of the complex and elegant type seen on a pair of parcel gilt silver covered bowls and tazzas sold at Christie's, London, 8 October 2008,
lot 250 and a gold Goa stone container and stand sold at Bonhams, London, 16 October 2003, lot 349. In the note to the former, the problems of attribution were
discussed, in light of the lack of surviving comparable items. The catalogue entry on the Goa stone holder suggested Bombay, Rajastan or Gujarat as an origin.
On account of the strength of European infuence on the manufacture of silver covered bowls and tazzas however, coupled with the lack of European settlements
inland from the coast in the 17th century, Gujarat - or possibly Bombay - are the most probable places of origin. A Goa stone case from Gujarat with comparable
fligree work was sold at Sotheby’s, London, 19 October 2016, lot 261. Similar to Goa stones which often included powdered amber as part of their ingredients,
amber on its own was highly prised for a number of reasons. Amber was, and still is, highly sought after for its metaphysical properties for psychic protection. It
is believed to be a powerful healer to the person who wears or carries it and its talismanic features include attracting friends, bringing victory and averting the evil
eye. In the Mughal court, amber was used both on objects such as vessels and jewellery and in architecture, most famously the Taj Mahal.
47
~ 51 ~ 52 * 53
A MOTHER-OF-PEARL WINE CUP A BRASS MOUNTED MOTHER-OF-PEARL A QANAT
PROBABLY GUJARAT, NORTH WEST INDIA, BOTTLE PROBABLY MASULIPATNAM
CIRCA 17TH CENTURY PROBABLY GUJARAT, NORTH WEST INDIA, (MACHILIPATNAM), EAST INDIA, LATE 18TH
On short foot, of hemispherical form, the rim and LATE 16TH/EARLY 17TH CENTURY CENTURY
foot with brass rings On splayed foot, the bulbous body tapering to A chintz palampore, the central tree of life bearing
2æin. (7cm.) diam. waisted neck and fared mouth, the mother-of- oversized and elegant fower blooms rising from
pearl surface with several horizontal brass rings a mound under a mihrab niche, fanked by two
£2,000–3,000 $2,800–4,100
engraved with foral and circular motifs miniature deer, a scrolling foral tendrils above,
€2,300–3,400
7æin. (19.5cm.) with foral borders, with stamped inventory mark
70º x 43Ωin. (178.5 x 110.5cm.)
Gujarat was known as one of the main centres £4,000–6,000 $5,500–8,100
of decorative objects made from or decorated in €4,600–6,800 £5,000–7,000 $6,800–9,500
mother-of-pearl. Such objects were created for €5,700–7,900
both export trade and the domestic market. Due The form of this bottle, pear-shaped and with a
to its curious and exotic appearance, mother- short faring neck, echoes the form of sixteenth- PROVENANCE:
century Mughal bronze fasks and ewers (M. Acquired in India by Lieutenant-Colonel G.S.F.
of-pearl objects were particularly popular with
Napier (b.1862), circa 1895
export trade in the Middle East, Ottoman Turkey, Zebrowski, Gold, Silver and Bronze from Mughal
Indonesia and Europe (Amin Jafer, Luxury Goods India, London, 1997, nos. 195-197, p. 150). The
The blossoming tree became one of the most
from India, London, 2002, p.39). The Renaissance shape of our bottle suggests that it was probably
popular designs for chintz textiles exported to
courts were an avid admirer of such objects made for use within India. For other examples
Europe throughout the 18th century and into the
which were usually mounted in rich gold and with Gujarati workmanship of articles overlaid
19th century. These exquisite painted textiles
silver gilt settings. In Europe, these objects were with mother-of-pearl, which are currently in the
were frst imported to countries such as England
often displayed in collector cabinets intended for collection of the Victoria and Albert Museum, see
for use as bed and wall-hangings and quickly
display. A. Jafer, Luxury goods from India, London, 2002,
migrated to many other types of furnishings
nos. 10-14, pp. 36-43.
and clothing. The blossoming tree of the classic
A very similar example which is believed to be
palampore is in fact a fascinating hybrid created
associated with the Queen of Scots is housed in A mother-of-pearl fask previously in the Paul
for the delectation of the western market by
the Ashmolean Museum (EA1998.1). F. Walter Collection with brass mounts and of
European textile traders and would have born
comparable form, sold at auction, Christie’s, New
very little resemblance to the textiles produced
York, 21 March, 2007, lot 378. Another fask with
for the indigenous
ind Indian market. There is a clear
very similar cursory designs on the brass mounts
infuence of o English Elizabethan and Jacobean
is with Alexis Renard, Paris and was exhibited
crewel-work, which were in turn heavily indebted
crewel-wo
during Asia Week, New York, March 2017.
to the designs
des of late 16th and early 17th century
Flemish verdure
ve tapestries and these elements
combined with the hybrid fowering tree led to the
iconic palampore
pala design. The tree and the rocky
mound or landscape around it are a synthesis of
Persian and
an Chinese elements.
Two very similar

s hangings with a tree of life
growing from
fr a mound with nearly identical
borders arear in the Victoria and Albert Museum,
London (IS 51-1952 and IS.128-1950). They are
attributed to Burhanpur, late 18th century and
to Masulip
Masulipatnam, 18th century respectively.
An attribution
attribu to Masulipatnam and east India
is likely as most of these palampore textiles
were produced
prod along the Coromandel Coast.
See Homa
Homage to Kalamkari, Marg Publications,
Bombay, pl.III,
p pp.103-104.
51
52 Opposite: lot 53
48 Other fees apply in addition to the

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49
■ 54
A LARGE AND FINELY EMBROIDERED FLOOR SPREAD
The cream feld with an elaborate central foral quatrefoil amidst repeating foral sprays, the corners with
inward facing cusped arches, the wide borders sprinkled with fowers and petals, backed, stretched, and
mounted
92 x 74Ω3in. (233 x 189.2cm.)
£10,000–20,000 $14,000–27,000
€12,000–23,000
The peripatetic Mughal courts used cotton foor spreads such as this in the summer months in place
of the silk and wool carpets of the winter. They were used as foor coverings in royal or aristocratic
tents. The wall hangings were sometimes embroidered or woven en suite and they can be seen in
many Mughal miniature paintings from the 17th century onwards. Their foral designs are laid out in the
Mughal fashion, either scrolling or arranged in sprays, whilst the placement of the central medallion
and of the corner palmettes pointing inwards recall Islamic carpets. Other Mughal foor spreads sold at
Christie's South Kensington, 7 April 2006, lot 9 and 22 April 2013, lot 324
51
~ 55 56
THREE FINELY CARVED OPEN WORK IVORY PANELS FROM A A FINE GOLD OPENWORK PANDAN BOX
CASKET SOUTH INDIA, SECOND HALF 18TH CENTURY
PROBABLY MADURAI, SOUTH INDIA, LATE 17TH CENTURY On plain base, the four lobed compartments with hinged raised lid topped
Each of rectangular form, with dancers and musicians on open work foral with peacocks, the central screw locking system with fnial worked as a
ground within lobed arches large peacock perched on a budding foral sprig, the base engraved with fne
Each panel 4√ x 1¿in. (12.4 x 2.8cm.) (3) radiating foral pattern surrounded by foral scrolling tendrils
2æin. (7cm.) square
£10,000–15,000 $14,000–20,000
€12,000–17,000 £15,000–25,000 $21,000–34,000
€17,000–28,000
These three fne ivory border panels relate to those from a 17th century box
which was found in Bath in the 1970s which was probably originally made This beautifully crafted gold box with intricate openwork decoration is
in Madurai in Tamil Nadu in South India. One panel of the box, which is now surmounted by peacocks which are considered auspicious birds and are a
dispersed, sold at Christie’s, London, 26 May 2016, lot 86. Other sections are popular motif in both north and south India. The form of the peacocks lacks
in the Virginia Museum of Fine Arts (In.N.80.171; J. M. Dye, The Arts of India, the sturdy sobriety of line found in northern India and is more akin to the
Virginia Museum of Fine Arts, Virginia, 2001, p.441), the Museum of Fine plumper, curved bird forms associated with the Deccan and South India. For
Arts Boston (In.N.: 1980.352; http://www.mfa.org/collections/object/erotic- bird fnials of comparable form, used on a brass lamp and a betel-leaf box,
panel-22883), and the Metropolitan Museum of Art (In.N.: 2013.981a,b; dating from the 17th-18th century in South India, see M. Zebrowski, Gold,
http://www.metmuseum.org/art/collection/search/78873). Although the Silver & Bronze from Mughal India, London, 1997, nos. 102, 104, pp.100-101.
scale and fnesse of the panels ofered here is diferent, it is likely that they
originally formed part of a decorative border that surrounded the central The compartmentalised shape of our pandan box, a container for storing
panels of such a box. Our panels share with the Bath box the same general betel-leaf and other ingredients required for making pan, is also found in
decorative conception with lobed arches containing separate scenes of other containers. It occurs in masaladans or spice boxes; attardans, boxes
lively dancers and musicians on a ground of openwork scrolling vine, issuing for storing solid perfume; sindurdans and sumardans for vermilion and kohl
spindly leaves. along with compartments for other cosmetics. For examples of comparable
silver and parcel gilt boxes from the eighteenth and nineteenth centuries,
see C. Terlinden, Mughal Silver Magnifcence (XVI-XIXth C.), Bruxelles, 1987
nos. 236-239, pp.158-159. No. 238, a spice box from Central India, has
each compartment surmounted by a slender peacock and a central lotus
with a fnial which unscrews to release all the compartments, much like our
example. There is another comparable spice box with fve compartments
surmounted by a hamsa (an aquatic bird), from South India dated to the 19th
century, in the Victoria and Albert Museum, London (02654 I.S).
~ 57
A LARGE AND FINELY CARVED IVORY HILT
SRI LANKA, LATE 17TH/18TH CENTURY
The pommel carved as a lion head, the grip with intricate foral lattice and
scrolling tendrils, on modern stand
6ºin. (15.8cm.) high
£12,000–18,000 $17,000–24,000
€14,000–20,000
A very similar ivory hilt with carved lion head and grips decorated with dense
foliage is in the British Museum (1880.1565). It is attributed to Sri Lanka and
dated to the 18th century.
~ 58
AN IVORY CARD CASE
PROBABLY KANDY, SRI LANKA, 17TH/18TH CENTURY
Of elongated oval form, the deeply carved decoration comprising foral tendrils
inhabited by birds and hares, the sides with suspension loops
4in. (10.2cm.) high (4)
£10,000–15,000 $14,000–20,000
€12,000–17,000
58
The carving of this case is very similar to that on a spherical ivory box
attributed to Kandy, 16th/17th century, which recently sold at Sotheby’s,
London, 25 October 2017, lot 179. Like the box it is composed of scrolling
blossoms inhabited by animals and birds. Amin Jafer suggests that the
foral decoration of the type seen here was popularized in the East Indies
by the Dutch and were probably derived from Dutch herbals circulated via
the Dutch East India Company (VOC) (Amin Jafer, Luxury Goods from India,
London, 2002, p.53).
The form of this box, a card case, is European in conception. Other

‘European’ objects were also made in Sri Lanka as early as the 17th century.
One such example is a group of pipe cases, one of which is in the Victoria
& Albert Museum (inv.W.147-1928; published in Jafer, op.cit., 2002, no.18,
pp.50-51). A silver fligree box of similar form to our card case made in
Canton in the 18th century for the Indian market is in Powis Castle (Mildred
Archer, Christopher Rowell and Robert Skelton, Treasures from India, London,
1987, no.191, pp.127-126). Despite the diferent attribution, the fact that
was exported to India demonstrates the desire for such cases there at that
period. Another Sinhalese card case, dated to circa 1800, is in the Victoria
& Albert Museum (inv.IS.423-1897; https://collections.vam.ac.uk/item/
O482567/card-case), although a photograph has not been found with which
to compare to ours.
One rare feature of this box it is that it was probably originally gem-set.
What can be seen now in the apertures in which the gems would have been
appears to be the remains of the foiling which would have been applied
behind the gems helping them gleam.
57
55
59
59
A GEM-SET GOLD BUCKLE
BURMA, 19TH CENTURY
Formed as a bosse, engraved and worked in repoussé with foral
designs, set with foiled rubies, emeralds and diamonds, four
loops to the reverse
2æin. (7cm.) diam.
£3,000–5,000 $4,100–6,800
€3,400–5,700
* 60
A LONG OPEN-WORK STEEL PUSH-DAGGER
(KATAR)
SOUTH INDIA, 17TH CENTURY
Of typical form, with European double-edged tapering blade,
the hilt and forte decoration consisting of a thin elongated
palmette rising against an open-work foliate ground
21ºin. (51.5cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
Two openwork steel katars in the Metropolitan Museum of Art,

and attributed to 17th century Tanjore, share a similar profle
with ours (36.25.1022 and 36.25.1024). The frst, like ours, is
mounted with the tip of a blade taken from a European sword.
60
61
A SILVER-OVERLAID STEEL PUSH-
DAGGER (KATAR)
SOUTH INDIA, LATE 17TH/EARLY 18TH
CENTURY
Of typical form, with curved blade, a palmette
engraved to the forte and to the base of the
reinforced tip, the openwork crossbars with
repeating hamsas and juxtaposed gadrooned
bulbs, the overlaid hilt bars with illegible
inscriptions and further palmettes
15¿in. (38.4cm.) long
£4,000–6,000 $5,500–8,100
€4,600–6,800
The gently curved single fuller blade of our katar

together with its reinforced tip fnds a close
parallel in a published push-dagger attributed
to southern Deccan and dated to the late 17th
century (Robert Elgood, Hindu Arms and Ritual,
Arms and Armour from India, 1400-1865, Delft,
2004, cat.15.39, p.162). Elgood also notes that a
Lucknow enamelled katar with a blade of similar
shape was catalogued by Missillier and Ricketts
as 17th century. The profle of our katar’s hilt with
its curved base appears to be typical of the push
daggers found in the Tanjore Armoury (ibid, 2004,
cat.15.39, p.162).
62
A STEEL PUSH-DAGGER (KATAR)
TANJORE, SOUTH INDIA, LATE 17TH/EARLY
18TH CENTURY
Of typical form, with ridged blade, the cross bars
with a fower head, with gadrooned wheels to its
outside, the forte with rising foral palmettes, with
associated leather sheath
14in. (35.5cm.) long
£5,000–7,000 $6,800–9,500
€5,700–7,900
This push-dagger has two small wheels to the

side of its hilt. According to Elgood those wheels
are typical of the katar hilts found in the Tanjore
Armoury. He attributes such examples to the
second half of the 17th century. Another of the
characteristics he ascribes to Tanjore is the
intricate hanging palmettes falling form the slightly
recessed lower hilt bar (Robert Elgood, Hindu
Arms and Ritual, Arms and Armour from India,
1400-1865, Delft, 2004, cat.15.37, p.161-162).
61 62
57
63
A SET OF SIX CARVED WOOD NESTING BEAKERS
POSSIBLY MYSORE, SOUTH INDIA, LATE 18TH CENTURY
On plain base, the deeply carved decoration consisting of foral sprays rising
form globular vase and waisted vasques balanced on cherubs' heads, the lids
with radiating fower buds, old French label to the base
The largest 8in. (20.4cm.) high (7)
£5,000–7,000 $6,800–9,500
€5,700–7,900
PROVENANCE:
By repute, Tipu Sultan (as per label attached to the beaker's base)
INSCRIPTION:
Vases en [bois de] Girofier ayant appartenu a [Tipu] Saib, Souverain dans
l'Inde, vaincu et [..] les Anglais en 1799
58 Other fees apply in addition to the hammer price – see Section

tion D of our Conditions of Sale at the back of this Catalogue
(part)
64
FOUR LARGE VIEWS RELATING TO THE FALL OF TIPU SULTAN
AFTER HENRI SINGLETON AND ROBERT KERR PORTER
Including The Assault and Taking of Seringapatam; The Last Efort and Fall of Tippoo Sultan; The
Surrender of the Two Sons of Tippoo Sultaun and The body of Tippoo Sultan recognised by his family, by L.
Schiavonetti and A. Cardon, stipple engravings, on uncut sheets of thick paper, published by A. Cardon
and L. Schiavonetti, London 1801, unframed
26¡ x 37æin. (67 x 96cm.) each (4)
£4,000–6,000 $5,500–8,100
€4,600–6,800
Henry Singleton's four views depict the last throes of Tipu Sahib, Sultan of Mysore (1753-1799).
Following the four Mysore wars between 1767 and 1799, a keen demand arose in England for prints
of the legendary fgure of Tipu Sahib and his army of south Indian troops. Singleton's oil paintings
illustrate each dramatic event leading up to the defeat of Tipu Sahib in 1799 (see previous lot). Tipu,
shut up in his fortress at Seringapatam, an island fort in the river Kaveri just north of Mysore, held
a last stand against the British, led by Colonel Wellesley, later Duke of Wellington. The battle made
Wellesley's military career, and he remained in India as Governor of Seringatapam for fve years. Tipu
was killed during ferce fghting, and according to Wellesley's biographer, Elizabeth Longford, was
'shot dead by a British soldier who fancied the jewel in his turban' (seen here in the second plate). The
present prints are by Schiavonetti (1765-1810), the highly successful pupil of Bartolozzi, and Anthony
Cardon (1772-1813). Two other sets of Singleton's views sold at Christie's, London, 17 June 1998, lot 80
and 24 September 2003, lot 89.
59
65
65
RAJA AMAR SINGH OF TANJORE (R.1787-1798) IN
PROCESSION
TANJORE, SOUTH INDIA, EARLY 19TH CENTURY
Opaque pigments heightened with gold on paper, laid down on wooden
board, depicting the ruler seated on a large caparisoned elephant, in a
stately procession accompanied by attendants, musicians and soldiers
in British uniform on horseback, framed
Painting 24 x 31ºin. (61 x 79.4cm.)
£5,000–8,000 $6,800–11,000
€5,700–9,100
The ruler depicted in our painting appears to be Raja Amar Singh

Bhonsle, the younger son of the Maratha ruler of Tanjore, Raja Pratap
Singh. He served as regent for fve years after the death of his elder
brother, Tuljaji (r.1765-68) and then ruled in the name of his nephew
Sarabhoji (also known as Serfoji II) from 1787 to 1793. He fnally
usurped the throne after deposing Sarabhoji and ruled absolutely from
1793 to 1798. For a comparable portrait of Amar Singh by a British
artist, circa 1797, see Sotheby’s, London, 4 December 2008, lot 105.
The format and composition of the present painting fnds comparison
with three known large processional scenes from Tanjore from the late
eighteenth to the early nineteenth century. The frst painting dating
to circa 1770 depicts Amar Singh’s elder brother, Raja Tuljaaji, seated
on horseback accompanied by numerous attendants on foot. The
painting is now in the Victoria & Albert Museum, London (IM.319-1921;
ill. A. Topsfeld, An introduction to Indian Court Painting, London, 1984,
no.20, p.28). The second is a grander scene, circa 1797, depicting
Amar Singh himself seated in a large gilded carriage and his nephew
Sarabhoji in a notably smaller carriage in the front of the procession,
with elephants, horses, soldiers and attendants. This painting is also in
the Victoria and Albert Museum (IM.10-1938; ill. M. Archer, Company
Paintings: Indian Paintings of the British Period, London, 1992, pl.41,
66
p.44). The third processional scene, more elaborate and crowded than
the last, dates from around 1820, and depicts Raja Sarabhoji seated on
a large caparisoned horse with his army of attendants. (British Library,
Add.Or.2594).
60
α 66
A GILT-BRASS SHIELD
POSSIBLY GUJARAT, NORTHWEST INDIA,
FIRST HALF 20TH CENTURY
Of circular convex form, with applied bosses
and crescent moon, the openwork decoration
comprising wrathful deities on dense swaying
foliate and floral ground, the reverse with two
handle and hand cushion, on modern stand
16Ωin. (42cm.) diam.
£4,500–6,000$6,200–8,100
€5,100–6,800
Visit www.christies.com for additional

information on this lot.
67
A GOLD-INLAID AND GILT-STEEL KNIFE
AXE (BHUJ)
WESTERN INDIA, FIRST HALF 19TH
CENTURY
Of typical form, the thick blade rising from
the cylindrical section handle inlaid with gold
quatrefoils, the finial worked as a gem-set
elephant head, the facetted and truncated bulbous
finial unscrewing, the original sheath elegantly
decorated with profuse scrolling floral tendrils
25æin. (65.4cm.) long
£8,000–12,000 $ 11,000–16,000
€ 9,100–14,000
PROVENANCE:
The Richard R. Wagner Jr. Collection
LITERATURE:
Oliver S. Pinchot, Arms of the Paladins : The

Richard R. Wagner Jr. Collection of Fine Eastern
Weapons, 2014, p. 20, fig. 2-17.
Visit www.christies.com for additional

information on this lot.
* 68
A GOLD-DAMASCENED KHANDA
NORTH INDIA, 18TH CENTURY
The watered-steel blade of typical form widening
towards tip, the spine and forte with applied
and gold-damascened decoration of repeating
palmettes containing scrolling vine, the iron basket
hilt with an extended curved finial, floral scrolling
vine and bands of strapwork, the grip covered with
purple velvet, in a green cloth covered wooden
sheath
41in. (104.2cm.)
£5,000–7,000$6,800–9,500
€5,700–7,900
67
68
61
69
PROPERTY FROM THE ESTATE OF WILLIAM KELLY SIMPSON VARIOUS PROPERTIES
* 69 70
A DRAWING OF MAHARAO RAM SINGH II (R. 1827-66) HUNTING MAHARANA ARI SINGH (R.1762-72) HUNTING BOAR
KOTA, RAJASTHAN, MID-19TH CENTURY ASCRIBED TO DEVA, MEWAR, RAJASTHAN, CIRCA 1763-64
Black ink on paper, depicting the ruler standing with attendants in a pavilion Opaque pigments heightened with gold on paper, the ruler haloed, on a
shooting a tiger in a forest, with a line in black devanagari script to centre right richly bedecked black steed, aiming his bow at a wild boar, another feeing, in
10√ x 15¬in. (26.5 x 39.5cm.) black rules, with red borders, an inscription in black devanagari script above,
mounted, framed and glazed, the reverse with 5 ll. of devanagari script in black
£2,000–3,000 $2,800–4,100 ink identifying the ruler, the artist and the date of samvat 1820
€2,300–3,400 16º x 10¿in. (41.2 x 25.6cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
INSCRIPTION:
In the upper border: maharajadhiraj maharana ji shri 108 shri ar si ji ri surat ro

pano ghode ranchod prasad asavar, 'Portrait of Maharana Ari Singh on horse
Ranchod Prasad'
Verso: shri ram ji / pano shri maharajadhiraj maharana ji shri ar si / ha ji ri surat
ghode ranchod prasad asavar surto / ri ... karta ... pano kalmi chitar deve shri
hajur / najar ki di pano ori jama samvat 1820 ra magh sur sud 14, 'Portrait of
Maharana Ari Singh and the portrait of his horse Ranchod Prasad ... by the
artist Deva who makes an ofering to the ruler. The painting submitted on the
14th day of the month of Magh, Samvat 1820.'
This compelling image of Maharana Air Singh hunting is ascribed to the

painter Deva. This artist is known to have painted a fne depiction of combat
between two of Jagat Singh's royal elephants in 1746 (Sotheby's, London, 23
April 1996, lot 38). Deva is recorded as one of Ari Singh's artists, alongside
Bagta, Jugarsi and Kesu Ram (Andrew Topsfeld, Court Painting at Udaipur,
Art under the patronage of the Maharanas of Mewar, Zurich, 2001, p.200).
Other portraits of Ari Singh hunting sold at Christie's, London, 1 October
2012, lot 68 and 26 May 2016, lot 47.
62
70
* 71
MAHARAJA BHIM SINGH OF JODHPUR
GREETS MAHARAJA PRATAP SINGH OF
JAIPUR
JODHPUR, RAJASTHAN, NORTH INDIA,
CIRCA 1801
Opaque pigments highlighted with gold and
silver on paper, Bhim Singh is depicted facing left,
kneeling, addressing a delegation from Jaipur,
his fy whisk, mace and shield bearers standing
behind him, with thin red borders, mounted
9Ω x 13æin. (24 x 35cm.)
£7,000–10,000 $9,600–14,000
€8,000–11,000
PROVENANCE:
With Simon Ray

Bonham’s, New York, 18 March 2013, lot 88
LITERATURE:
Simon Ray, Indian and Islamic Works of Art,

November, 2010, no.37
In this elegant portrait, Maharaja Bhim Singh

of Jodhpur (r.1793-1803) is depicted receiving
Maharaja Pratap Singh of Jaipur (r.1778-1803).
Maharaja Pratap Singh sits beyond another,
similarly dressed, fgure who is probably also
a member of the Jaipur family. Maharaja Bhim
Singh’s sister married Pratap Singh in 1801 and
it is likely that this scene depicts discussions
surrounding that particular event. Certainly, as
Leng Tan notes in his entry on the painting, “the
intimate quality of our picture suggests a private
occasion, lacking in regal pomp but convivial
and infused with warmth of feeling between
the protagonists” (Simon Ray, Indian and Islamic
Works of Art, November, 2010, no.37). The fowers
that are held by the members of the Jaipur family
may also be symbolic of the marriage proposal
and the unity of the two families.
Another closely related depiction of a meeting

of these two fgures is in a Private Collection
(published by Rosemary Crill, Marwar Painting:
A History of the Jodhpur Style, Mumbai, 2000,
fg.87, p.111). Also dated to circa 1801, it probably
depicts either the same occasion or another
event which took place during the wedding
preparations or festivities.
72 73
72
A FOLIO FROM A JATMALA SERIES: KAMANGARIN which this work belongs is executed by a single artist. A folio from the same
BUNDELKHAND, CENTRAL INDIA, CIRCA 1720-30 series sold at Christie's, New York, 21-28 September 2018, lot 637. Others
Opaque pigments heightened with gold on paper, in the upper register Krishna are published in Pratapaditya Pal, Pleasure Gardens of the Mind, Los Angeles,
reclines on a bolster with his consort in a garden pavilion, surrounded by 1993, pp.116-119 (there attributed to Marwar) and in Upadhyaya, op.cit.,
female attendants, in the middle and lower register, a nayika entertains three pp.146-153. We would like to thank Narmada Prasad Upadhyaya for his
onlookers in a palace interior, upper left corner with the word 'kamangarin' reading of the couplet on the reverse of this painting.
in black devanagari, the reverse with 2 ll. of Bundelkhand dialect in black ink
devanagari, mounted
13 x 9in. (33 x 22.8cm.) visible
£3,000–5,000 $4,100–6,800 73
€3,400–5,700 AN ILLUSTRATION TO THE RASRAJ OF MATIRAM SERIES
DATIA, CENTRAL INDIA, CIRCA 1770
INSCRIPTION:
Opaque pigments heightened with gold on paper, a lord and a courtesan
The couplet on the reverse of this painting translates as: 'Kamangarin [the wife
reclining on a bed, in a pavilion courtyard, two female courtesans witnessing
of bow and arrow maker] plays miracles by dancing her fighty eyes. She bears
the scene, three lines of devanagari script in a yellow cartouche above, in black
proud like Rati [the wife of Kamdev, who is known as Cupid] and thereafter
and white rules, with red borders, a line of black devanagari script above, a line
bends herself as the spring.'
of thick white devanagari script to the left side, the reverse with old collection
entry numbers and with numbered Datia royal collection stamp 'tasvir khana /
This painting belongs to a jatmala or 'Garland of Castes' series. The
no. 94 / Datia state'
accompanying poem was composed by the poet Dev which describes the 11√ x 8√in. (29.5 x 22.6cm.)
women of diferent castes. They are depicted as the archetypal heroine
(nayika) in the presence of Krishna. On our painting, Kamangarin is the wife of £3,000–5,000 $4,100–6,800
Kamangar and was engaged in the activity of weaving rope. These paintings €3,400–5,700
were previously identifed as illustrations of musical modes or ragamalas and
LITERATURE:
commonly attributed to Malwa or Malpura. The colourful series is renowned
A.L. Dallapiccola, Indische Miniaturen, Holle Verlag, 1976 (illustrated)
for its typical three registers, large format, colourful palette and for the white
architecture subdividing the scenes. Both Konrad Seitz in Orchha, Datia, Two paintings from the same series were recently exhibited by Simon Ray
Panna: Miniaturen von der rajputischen Höfen Bundelkhands (1580-1820), (catalogue, 2017, nos. 36 and 37). The catalogue entry by Jeremiah Losty
2015 and Narmada Prasad Upadhyaya in Paintings of Bundelkhand, Some gives details of the work and the original commission, and notes a further
Remembered, Some Forgotten, Some not yet Discovered, 2016 have recently example in the Los Angeles County Museum of Art (inv.no.72.2.3). A third
reattributed the series to Bundelkhand. Upadhyaya suggests the series to painting was sold at Christie's, New York, 21 March 2018, lot 350.
74
RAJA JAWAN SINGH SEATED WITH HIS BELOVED ON A An inscription on the reverse of this painting identifes the sitter as Raja
TERRACE AT NIGHT Jawan Singh with his beloved. It is followed by a verse of poetry. A similar
KISHANGARH, RAJASTHAN, NORTH INDIA, CIRCA 1720-40 painting of a maiden being presented to a prince and painted in Kishangarh
Opaque pigments heightened with gold on paper, reclining against green in the second half of the 18th century, sold at Sotheby’s, London, 8 October
bolsters beneath a red canopy, he with his shield and tulwar to his side, her 2014, lot 276.
presenting him with a fower, pan and sweetmeats on trays before them, a
standing female attendant to their side, within narrow yellow borders, the
reverse with three lines in black devanagari script identifying the ruler
8¡ x 6in. (21.4 x 15.2cm.)
£8,000–12,000 $11,000–16,000
€9,100–14,000
* 75
THREE APSARAS PERFORMING A PUJA The posture, facial expression and treatment of the two kneeling fgures in
KOTA, RAJASTHAN, NORTH INDIA, CIRCA 1830 our painting is almost identical to the aforementioned work.
Opaque pigments heightened with gold on paper, the domed shrine on a river
bank, the three apsaras in prayer before a lingam,in yellow margins within The iconography of ladies worshipping at a Shiva shrine near a riverbank also
white rules, in thin red borders, the reverse with old attribution note in faded suggests that the painting is possibly an illustration to a ragamala series,
ink and older entry numbers in pencil Bhairavi ragini or Devakari ragini of Hindol raga. The composition is also
11¡ x 8ºin. (29.8 x 21cm.) similar to an earlier painting from Mewar dated to circa 1760, and inscribed
£8,000–12,000 $11,000–16,000 Rag Nand Malhar, which depicts two winged ladies at a Shiva shrine. A
€9,100–14,000 partially disrobed winged being stands with folded hands on a grassy
riverbank while another, in mid-air, heads towards the shrine carrying two
Our painting can be closely compared to another Kota painting, dated circa garlands. (V. Ducrot, Four Centuries of Rajput Painting, Milan, 2009, ME 45,
1840, which depicts two winged apsaras (celestial beings) or yoginis kneeling p.63).
before a diminutive shrine in a rocky landscape (Bonhams, New York, 17
March 2014, lot 134).
69
‘AS LONG AS THE MOUNTAINS AND RIVERS SHALL
ENDURE UPON THE EARTH,
SO LONG WILL THE STORY OF THE RAMAYANA BE
TOLD AMONG MEN’
71
θ 76
AN IMPORTANT ILLUSTRATED MANUSCRIPT OF THE RAMAYANA OF TULSI DAS
SIGNED BY RAMCHARAN KAYASTH, JAIPUR SCHOOL, NORTH INDIA, DATED VS 1853/1796-97 AD
Ayodhya Kanda, one of seven volumes of Tulsi Das's Ramayana or Ramcharitmanas, manuscript on paper, 194f.,
each with 26ll. of neat black devanagari, important phrases in red, text within double red rules, with 179 fnely
painted illustrations, each with protecting fy-leaf, with marginal notes and numbering, colophon signed and
dated, in cloth covered card binding, loose in binding
Text panel 11Ω x 7√in. (29.3 x 20cm.); folio 16 x 12ºin. (40.5 x 31cm.)
£30,000–50,000 $41,000–68,000
€34,000–57,000
PROVENANCE:
By repute, Lakshmibai, the Rani of Jhansi (d. 1858)
72
The Ramayana or the story of Rama’s journey is one of India’s oldest brought to perfection in the late 18th century, above all in the Jaipur royal
and most popular epics. As well as a great story, it is also an important Library’ with the aim to equal contemporary Muslim manuscripts (Jeremiah
devotional text. Originally composed by Valmiki in the 5th or 4th century P. Losty, The Art of the Book in India, Bradford, 1982, cat.129, p.145).
BC, this manuscript is Tulsi Das’s famed version: the Ramcharitmanas, a
later vernacular narration of the Ramayana composed in Awadhi dialect in An old typed note accompanying the manuscript indicates: “The book was
1574 in Ayodhiya and completed in Benares. Tulsi Das (1532-1623) lived written in the year 1842 of the Sambat Era (1796 A.D.) and is consequently
under the reigns of the Mughal emperors Akbar and Jahangir. Emperor 111 years old. The book was in the possession of the Rani of Jhansi at the
Akbar demonstrated a very strong interest for Hindu texts and the earliest time of the Indian Mutiny, and after her death on the battle feld, it was taken
illustrated Ramayana that survives today is one that he commissioned circa over by one of her oficers. Her house having been set on fre after her fall, six
1584-88. vols. of this book were burnt with her other furnitures, but this one was found
uninjured in the debris after the fre was extinguished. This book itself has its
In the story, the hero Rama is exiled from the kingdom of Ayodhya due to the own historical value apart from its own signifcance”. The note also states the
scheming of his stepmother, Kaikeyi. He is joined in the forest by his beloved manuscript was copied from Tulsi Das’s original copy preserved in Rajapur
wife Sita and his brother Lakshmana. They make their way to Prayaga, in the Panda district by order of Raja Chhatrasal. Unfortunately, this is likely
where the Ganga and Jamuna rivers meet and where they know Sage to be erroneous as Chhatrasal, the well-known warrior and founder of the
Bharadwaja will give them shelter along their journey. During their stay, the Kingdom of Bundelkand, died in 1731.
sage suggests they settle in Chitrakuta for their exile where Sita, Rama and
Lakshmana fnd a place in which to make their home. Rama’s father, King The paintings in this manuscript are the product of an artist and atelier
Dasharatha, dies of a broken heart during his son’s exile. It is these episodes with considerable skills and talent. The colophon gives the name of the
that are described in the present copy. Sita is later carried of by the demon- artist Ramcharan Kayasth who appears to be unrecorded. However, it is
king Ravana, before being rescued and the royal couple is able to return in unclear where the manuscript was produced, in Jaipur or elsewhere. The
triumph to Ayodhya. accompanying note suggests that the book was illustrated by Jaipur artists
in Bundelkhand but no obvious stylistic element points toward the Central
A number of illustrated copies of the Ramayana are known, prepared at Indian territory. It is towards the Jaipur tradition that these illustrations trace
various royal courts, particularly in Rajasthan and the Punjab Hills. A number their origin. Some of the facial features, particularly that of Rama enthroned
of them are in the Jaipur City Palace Museum. However few have survived with Sita on one of the frst folios, are typically in the Jaipur style of the late
outside India in complete form and generally only isolated paintings are 1700s, early 1800s. Whilst many artists worked in a ‘fat’ style derived from
found. The largest complete copy which includes around 450 illustrations, is the well-known master Sahib Ram (active during the reign of Sawai Pratap
known as the Mewar Ramayana. The manuscript is in the traditional Hindu Singh, 1778-1803), our artist is obviously very conscious of shading and
horizontal format and was commissioned by Jagat Singh of Mewar (r. 1628- modelling which suggest other infuences. Whilst our manuscript is copied
52). The dispersed volumes have been digitally reunited and are accessible by a Jaipur artist, it might have been executed at another court wherever
online (https://www.bl.uk/ramayana). Another later copy (one volume only) Ramcharan Kayasth was employed, perhaps at Jhansi as suggested by the
made for the Maharaja of Jaipur circa 1860, was ofered at Christie’s, South provenance note.
Kensington, 10 June 2013, lot 200.
This manuscript is said to have belonged to the Lakshmibai, the Rani
The present manuscript contains 179 illustrations. It was originally part of of Jhansi. Lakshmibai was one of the leading fgures of the 1857 Indian
a set of seven volumes and it is likely that the number of illustrations would Uprising. Jhansi was besieged and raided by British troops in Spring 1858
have equalled those of the Mewar Ramayana. There is no doubt that it was – it is then that six of the seven volumes of our manuscript purportedly met
a princely copy on which considerable funds and time were spent. Unlike their fate. The Rani was forced to fee to Gwalior in May 1858 where she died
the Mewar Ramayana however it follows the ‘gutka’ format which is that of a on 17 June 1858.
Hindu ‘upright’ and bound manuscript. According to Losty, this format ‘was
77
THE GODDESS DURGA
JAIPUR, RAJASTHAN, NORTH INDIA, CIRCA
1810-20
depicted on her mount, holding her attributes,
a mounted attendant behind holding a peacock
feather, in thin yellow margins, within white rules,
with light blue borders, the reverse with 6 ll. of
black devanagari script, the flyleaf with numbered
Royal Mandi collection stamp
10æ x 7æin. (27.4 x 19.8cm.)
£2,500–3,500$3,400–4,800
€2,900–4,000
PROVENANCE:
Mandi Royal Collection
78
TWO PAINTINGS OF CHINNAMASTA
AND DURGA
JAIPUR, RAJASTHAN. NORTH INDIA, CIRCA
1840
Opaque pigments heightened with gold on
paper, the ferocious aspect of Devi as the self-
decapitating goddess Chinnamasta, holding her
head on a tray, flanked by attendants drinking her
77 78 (part)
blood, with thin yellow margins, within white and
black rules, with heavily faint pink borders; Devi
as Durga, haloed, seated on a lotus, holding her
attributes, an attendant holding a peacock feather
to her side, with thin yellow margins within black
and white rules, with light blue borders, each
with inscriptions in black devanagari script to the
reverse and with fly-leaf stamped with numbered
Mandi royal collection stamp
The Larger 11Ω x 7Ωin. (29.4 x 19cm.)
(2)
£3,000–5,000$4,100–6,800
€3,400–5,700
PROVENANCE:
79
AN ILLUSTRATION FROM A
MARKANDEYA PURANA SERIES: DURGA
CONFRONTS THE BULL DEMON,
MAHISHASURA
JAIPUR, RAJASTHAN, NORTH INDIA, CIRCA
1830
paper, depicting a serene Durga seated on a tiger
accompanied by attendants confronting the
demon Mahishasura in the form of a charging
bull, in a landscape, within black and white rules,
with narrow yellow and red margins and dark
blue borders, with black numerals '35' and an
inscription in red Devanagari script in the border
above identifying the scene, the reverse with
numerals '34' to top and '23' to upper left
Painting 6√ x 10Ωin. (17.4 x 26.8cm.); folio 10¿ x
14in. (25.7 x 35.5cm.)
£2,500–3,500$3,400–4,800
€2,900–4,000
For other illustrations from the same series

which have sold at auction, see Bonhams, New
York, 14 September 2015, lot 117; Christie's,
South Kensington, 1 October 2012, lot 253; and
Sotheby's, New York, 17 June 1993, lot 403. 79
75
■ 80
A LARGE PICCHVAI OF KRISHNA WITH GOPIS
NATHDWARA, RAJASTHAN, NORTH INDIA, EARLY 20TH CENTURY
Opaque pigments heightened with gold on cloth, depicting various scenes at Vrindavan including Krishna
with Radha and gopis in the forest, Yashoda and Nanda seated in pavilions, female devotees worshipping
at a shrine and bathing in a lotus pond below, bearing inscriptions in Devanagari script identifying the
scenes and individual fgures
128 x 136Ωin. (325 x 346.7cm.)
£6,000–8,000 $8,200–11,000
€6,800–9,100
Similar picchvais with scenes from the life of Krishna sold at Christie's, New York, 18 September 2013,
lot 376 and Christie's, South Kensington, 12 June 2014, lot 220.
77
81
A LONG ILLUSTRATED SCROLL OF THE BHAGAVATA
PURANA
RAJASTHAN, NORTH INDIA, LATE 18TH/EARLY 19TH CENTURY
Opaque pigments heightened with gold on paper, comprising
illustrations of the life of Krishna in cusped cartouches, the text in
minute black Devanagari script, within narrow foral borders
2500 x 10.8 cm.
£7,000–10,000 $9,600–14,000
€8,000–11,000
A very similar scroll of the Bhagavata Purana is in the British Library

(add.16624) and is published in Jeremiah P. Losty, The Art of the Book
in India, Bradford, 1982. Lostly explains that the tradition of copying
Hindu works such as the Bhagavata Purana, Bhagavad Gita and Devi
Mahatmya in minute scripts on long paper scrolls probably originated
in Kashmir in the early 18th century, partly under the infuence of
miniature Qur'an manuscripts that circulated in north India. The style
is relatively indeterminate and relates to the Delhi style of the late 18th
and 19th century. Alwar and Jaipur have been suggested as production
centres (Losty, op.cit., p.145).
82
KRISHNA ON KALIYA
KALIGHAT SCHOOL, BENGAL, EAST INDIA, LATE 19TH
CENTURY
Opaque pigments on paper, the blue skinned deity playing the fute
standing on the hood of the demon serpent, fanked by two of Kaliya's
wives
17º x 11in. (43.8 x 28cm.)
£3,000–4,000 $4,100–5,400
€3,400–4,500
This painting depicts the moment when Krishna assumed the weight
of the universe and tramples the hoods of Kaliya, the serpent whose
venom poisoned the waters of the Yamuna at Vrindavan. Kaliya’s
consorts are seen asking for Krishna’s mercy before he pardoned the
serpent and requested it to leave the river.
For a further discussion on Kalighat paintings see lot 83.
81 (detail)
78
82
(part)
83
TEN PAINTINGS OF HINDU DEITIES
KALIGHAT SCHOOL, BENGAL, EAST INDIA, LATE 19TH CENTURY
therefore and thus rapid mass production and transportation combined with
Opaque pigments on paper, comprising Krishna, Ganesh, Ram and Sita
increasing population, the paintings rose from simple souvenir bought by
enthroned, Kartikeya and Krishna and Radha mounted, framed and glazed
relatively local visitors to products acquired by a vast pool of consumers. Jain
Largest 20Ω x 11æin. (52 x 30cm.), smallest 18¬ x 11ºin. (47.4 x 28.6cm.) (10)
writes that the paintings illustrates a story of transformation form folk art to
£6,000–8,000 $8,200–11,000 popular culture (ibid,1999, p.17).
€6,800–9,100
Our ten paintings illustrate well the external infuences brought into Kalighat
This type of painting originates in the city of Calcutta in Bengal and paintings. Both paintings of Shiva and Parvati and the seated Ganesh
especially from the vicinity of the Kalighat temple devoted to the goddess clearly demonstrate the use of shading. However, the painters resorted to
Kali. They are invariably executed in watercolour on mill made paper. They this foreign device to emphasise volume as opposed to replicate a three-
were initially produced by a caste of scroll painter-cum-potters who set up dimensional efect.
their stalls and shops around the temple, coining the term Kalighat paintings
(Jain Jyotindra, Kalighat Painting, Images from a Changing World, Ahmedabad, Series of Kalighat paintings sold at Christie's New York, 21-28 September
1999, p.9). In a period marked by industrialisation and colonial administration, 2017, lot 659 and Christie's South Kensington 28 April 2017, lot 285
81
84
A BRASS LINGAM COVER
MAHARASHTRA, WEST INDIA, 19TH CENTURY
The cover cast in the form of Shiva's head, with pronounced traits, bulging
eyes and matted hair, protected by the seven-headed hood cobra
Head 10Ωin. (26.8cm.), hooded cobra 15./4in. (38.7cm.) high
(2)
£3,000–5,000$4,100–6,800
€3,400–5,700
84
85
A BRASS MASK OR STANDARD FINIAL IN THE FORM OF
HANUMAN
MAHARASHTRA, WEST INDIA, 19TH CENTURY
Cast, with protruding features and bulging almond-shaped eyes, on conical
base
9æin. (25cm.) high
£2,000–3,000$2,800–4,100
€2,300–3,400
85
86
A BRASS MASK OF PANJURLI
KARNATAKA, CENTRAL INDIA, 19TH CENTURY
Realistically cast, with stylised necklace, the forehead marked with a crescent
moon
8¡in. (21.3cm.) diam., 12ºin. (31cm.) wide
£2,000–3,000$2,800–4,100
€2,300–3,400
This type of mask is used during bhuta worship, practiced in the coastal
region of Karnataka. Bhutas are celestial or ancestral spirits that are
represented by hundreds of different forms, including forms of Shiva,
buffalos and boars, as in the present example. During an all-night festival,
the mask is worn by a trained medium who invites the bhuta to possess him.
He then sings, dances, tells stories, gives advice and solves problems for the
sponsoring family or village group. See S. Aryan, Unknown Masterpieces of
Indian Folk and Tribal Art, 2005, p. 61-63 and Dancing Masks - Bronzes from
Southern India, 17 May - 23 August, 2009, exhibition catalogue, Rietberg
Museum, Zurich for other and comparable bhuta masks made of brass.
86
87
A WHITE MARBLE MODEL OF INDRA'S ELEPHANT AIRAVATA
NORTH INDIA, 19TH CENTURY
Realistically rendered, richly bedecked, the God and his fy whisk bearer riding
in a howdah, the mahout straddling the elephant in front, holding an ankus, on
oval base
7¬in. (19.4cm.) high, 7ºin. (18.5cm.) long
£3,000–5,000 $4,100–6,800
€3,400–5,700
PROVENANCE:
James Broun-Ramsay (1822-1860), 1st Marquess of Dalhousie and Governor-

General of India (1848-1856).
Broun-Ramsay’s house, Coulston, Scotland.
The elephant has three trunks, suggesting that his is the mythical white
fying elephant Airavata, the vehicle of the Vedic god Indra. This would
suggest that the main fgure in the howdah is Indra himself.
87
88
A BRASS MODEL OF AN ELEPHANT AND ITS RIDERS
EAST INDIA, 19TH CENTURY
Cast, a ruler in the howdah, the mahout holding a shield and stylised ankus, on
short plinth
15æin. (40cm.) high
£2,000–3,000 $2,800–4,100
€2,300–3,400
88
89
A GOLD AND ENAMELLED GEM-SET FLASK IN THE FORM OF A
PARROT (CHUSKI)
PROBABLY JAIPUR, NORTH INDIA, 19TH CENTURY
Realistically modelled, perched on a branch applied with gold enamel fowers,
the wings inset with table-cut diamonds, with ruby inset necklace, holding in
its beak a fower bud worked as a minute scent bottle with chained stopper
5ºin. (13cm.) high
£4,000–6,000 $5,500–8,100
€4,600–6,800
A closely related enamelled parrot dated to the 19th century is in the National
Museum in New Delhi (Rita Devi Sharma and M. Varadarajan, Handcrafted
Indian Enamel Jewellery, New Delhi, 2008, p.70). Like ours, the New Delhi
parrot has very fne regular strapwork underneath the enamel enriching the
surface of the birds. An exceptionally large enamelled and gem-set parrot
was sold in Christie's, London, 5 October 2010, lot 50. Another 19th century
89
example of comparable size was sold in Christie's, London, 23 September
2005, lot 131.
83
PROPERTY OF A DISTINGUISHED COLLECTOR, LONDON
90
AN IMPRESSIVELY LONG NARRATIVE SCROLL
TELANGANA, DECCAN, CENTRAL INDIA, FIRST HALF 20TH
CENTURY
Opaque pigments on cloth, arranged in an horizontal format on two registers,
the Churning of the Ocean and Vishnu reclining on Shesha at top, a multi-
armed hero standing in front of a fre from which emerges a female fgure,
numerous protagonists in various situations including processional cavalcades
to left and right, the multi-headed Brahma, Indra, Ganesh, Skanda to the right
44æ x 356in. (114 x 904cm.)
£7,000–10,000 $9,600–14,000
€8,000–11,000
This scroll is an impressive example of the rich tradition of scroll painting According to Mittal, only ‘eight to ten families of painters lived in Telangana’
in the Deccan. Whilst narrative scrolls are found throughout India, Cherial from the 17th to the 19th century (Jagdish Mittal, Deccani Scroll Paintings,
in north east Telangana produced some of their greatest examples. These Hyderabad, 2014, p.15). However Mittal records that since 1942 only one
scrolls are used by itinerant minstrels to illustrate the stories they narrate at family of painters remains in Cherial. A related scroll of the Madel Purana
village gatherings. Stories can be narrated over four to seven days. Whilst scroll, attributed to the Karimnagar district and dated circa 1840-50 is
there is no written text, the performance is held in Telugu language, part in the Jagdish and Kamla Mittal Museum, Hyderabad (Mittal, 2014, cat.6,
verse and part in prose. Most scrolls are in vertical format with horizontal pp.144-159). Another scroll signed by Nakashi Venkata Ramaya (frst half
registers. They are unrolled during the performance. 20th century) is published in Andrew Butler-Wheelhouse, A Library of
Indian Manuscripts, Sam Fogg, London, 2016, cat.34. For a discussion on
The subjects of these scrolls are often drawn from important epics but as it a modern performance of the Madel Purana, see Kirtana Thangavelu, ‘Oral
is the case here, they also depict local legends about the origin, progenitors and Performative Dimensions of a Painted Scroll from Telangana’ in Anna L.
and certain heroes of the caste who sponsor the bards’ performance. An Dallapiccola (ed.), Indian Painting, The Lesser-Known Traditions, New Delhi,
example sold at Christie’s, London, 25 May 2017, lot 96 illustrated the 2011, pp.127-137.
Madel Purana or the story of the sacrifce of Daksha and the emergence of
Virabhadra and related to the Dhobi washermen and the origin of their caste.
Others such as one in the British Museum (1996,0615,0.1) illustrate the
Bhavana Rishi tale, the legend of the origin of the Weaver Caste.
VARIOUS PROPERTIES
■ 91
AN IMPRESSIVE TEMPLE BRASS
BRANCH OIL LAMP
SOUTHERN INDIA, LATE 19TH CENTURY
Modelled as a tree, each branch with applied
leaves, fowers and bearing a shallow oil tray, the
fnial modelled as a large hamsa bird, on circular
base
70in. (178cm.) high
£6,000–8,000 $8,200–11,000
€6,800–9,100
An earlier example of a multi-branch lamp is

recorded in Mughal Silver Magnifcence (XVI-
XIXth C.), Brussels, 1987, p. 179, no. 284
87
* 92
A GREY-HEADED MYNA ON A PIGEON PEA BRANCH
BY ZAYN AL-DIN OR A CLOSE ASSOCIATE, CALCUTTA, EAST INDIA, artist copies the birds so similarly whilst allowing a certain freedom in the
CIRCA 1775 depiction of the diferent plants. It is possible therefore that Zayn al-Din
Watercolour and ink on paper, the myna depicted perched on a pigeon pea composed his multi-subject drawings in a modular fashion, sometimes
branch, inscribed in black ink 'Bird, Hen Powy, Shrub Arhaar', on watermarked working with the same subjects but shifting them so that they ft the brief.
paper The close similarity between the bird here and on the Hobson folio raises the
12Ω x 15 in. (31.7 x 38.1 cm.) possibility that Zayn al-Din and the other Impey artists worked sometimes
£8,000–12,000 $11,000–16,000 from copybooks or from dead specimens rather than from life.
€9,100–14,000
Shaykh Zayn al-Din was a native of Patna trained in the naturalistic Mughal
PROVENANCE: tradition and the most senior of the three painters who worked on the natural
Collection of Lord and Lady Fairhaven history illustrations in the famous Impey Album. He was also the only one to
work on multi-subject paintings, mixing ornithological and botanical subjects
The depiction of the grey headed myna bird here is near identical to that of as seen here. This painting, and that of the following lot, bears hallmarks
a bird on a page from the Impey Album which was formerly in the collection of his style with the bird positioned on a clipped fowering branch angled
of the late Anthony Hobson and sold Christie’s, London, 10 June 2015, lot 58. toward the upper right corner of the sheet. This approach was characteristic
That folio was signed ‘Shaykh Zayn al-Din native of Patna’ and dated 1782. of Zayn al-Din and his close followers.
So similar are the two birds that it seems likely that they, and by extension
the painting of the following lot from the same series as this one, are the For another painting from the same series, and a note about the dating,
work of the same celebrated artist or a close follower. It is notable that the please see the following lot.
* 93
A GOLDEN FRONTED LEAFBIRD PERCHED ON THE BRANCH OF
A PEACH TREE Although the paintings here (lots 92 and 93) are undated, they are done
BY ZAYN AL-DIN OR A CLOSE ASSOCIATE, CALCUTTA, EAST INDIA, on paper bearing the watermark ‘CT & Son’. Paper marked as such saw
CIRCA 1775 very sparing use, and seems to appear only on folios dating to the early
Watercolour and ink on paper, the bird depicted perched on a peach tree, or mid-1770s. The latest examples are known date to around 1778. Zayn
inscribed in black ink 'Bird, Harooah - China peach tree' on 'CT & Son' al-Din’s frst inscribed painting for Lady Mary Impey was executed in 1777.
watermarked paper, mounted The drawings for Lady Mary were almost universally completed on paper
12Ω x 15√ in. (31.7 x 40.3 cm.) watermarked J. Whatman (the type of which was used for lots 94 and
£7,000–9,000 $9,600–12,000 95 in this sale). It is possible therefore that this painting, and that of the
€8,000–10,000 following lot were part of an early, previously unrecognized commission for
the Impeys (after their arrival in India in 1774), or that they were produced for
PROVENANCE: another patron, predating the Impey work or possibly overlapping with the
Collection of Lord and Lady Fairhaven beginning of it.
For another painting from the same series, and a note on the attribution to
Zayn al-Din or a close associate, please see the preceding lot.
89
94
A STUDY OF A TROPICAL PLANT AND ITS
FRUIT
INDIA OR SOUTHEAST ASIA, LATE 18TH/
EARLY 19TH CENTURY
Opaque pigments and watercolour on 'J. Whatman
1794' watermarked paper, identifed in black ink
"Clah-Law"
16æ x 21√in. (42.5 x 55.6cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
This watercolour, and that of the following lot

come from a known series. Six sold at Christie’s,
London, 24 September 2003, lot 154. Another
six sold Christie’s, South Kensington, 21 October
2016, lots 342 to 347. For another watercolour
from the same series, see the following lot.
95
A BOTANICAL STUDY OF PLANT AND ITS
TROPICAL FRUIT
INDIA OR SOUTHEAST ASIA, LATE 18TH/
EARLY 19TH CENTURY
Opaque pigments and watercolour on 'J. Whatman
179[..]' watermarked paper, identifed in black ink
"Samboa Chilly"
16Ω x 20ºin. (42 x 51.5cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
For another watercolour from this series and a

note on others from the series, please see the
preceding lot.
THE DERBY COPY OF FRASER’S
RARE WORK ON THE HIMALAYAS
91
θ 96
JAMES BAILLIE FRASER (1783-1856): VIEWS IN THE HIMALA
MOUNTAINS
PUBLISHED BY RODWELL & MARTIN, LONDON, 1 JUNE 1820 [PLATES This work is illustrated with magnifcent views recalling the frst recorded
DATED 1 MARCH 1820] journey by Europeans through the region. This copy, from the library of
Broadsheet, hand-coloured aquatint title and 20 hand-coloured aquatint the Earls of Derby, was bound in 1830 or slightly later, suggesting that the
plates by Robert Havell & Son after Fraser, all on thick paper, mounted on original owner was either the 12th Earl (d. 1834) or his son, the 13th Earl,
guards throughout, with laid Whatman paper interleaves, most watermarked who built up the menagerie at Knowsley Hall, together with its magnifcent
'1825', light spotting to the majority of plates, in near-contemporary red natural history library and drawings collection.
straight-grained morocco gilt, the covers with outer decorative panels made
up of fllets and various fower or foliage small tools, all surrounding large inset The present work stands as a visual record of the pioneering journey made
red glazed paper panels textured in imitation of straight-grained morocco by James Baillie Fraser and his brother William, a political agent in 1815,
with decorative border tooled in blind, the upper cover with centrally-placed
during the Nepal war. They spent two months journeying through the
red morocco lettering-piece with gilt lettering within a gilt border, spine in
region, chiefy exploring the river valleys but occasionally venturing to higher
seven compartments with raised bands, the bands with repeat decoration in
altitudes (where the party sufered from altitude sickness). The expedition
gilt, the compartments outlined in blind, gilt turn-ins, yellow-toned endpapers,
front free-endpaper with watermarked date '1830', g.e. (wear to spine, some reached as far as the sources of both the Jumna and the Ganges.
splitting to joints, extremities rubbed, corners bumped)
705 x 515mm. The fne coloured plates were engraved by the Havells from Fraser's sketches
made on the spot, and were intended to both accompany Fraser's own
£30,000–50,000 $41,000–68,000
written account of the journey (Journal of a Tour through Part of the Snowy
€34,000–57,000
Range of the Himala Mountains London: 1820) and to be seen as a ftting rival
and supplement to the earlier works by the Daniells and Henry Salt. Although
PROVENANCE:
The Earls of Derby (armorial bookplate, manuscript library accession numbers Rodwell & Martin did not publish the other works, they chose to describe this
on front free endpaper) work as being 'In Elephant Folio, uniform with Daniell's Oriental Scenery and
Christie's, London, 24 September 2003, lot 63 Salt's Views in Abyssinia. Abbey Travel II, 498.
93
(part)
97
SEVEN LARGE VIEWS FROM ANTIQUITIES OF INDIA
AFTER JAMES WALES in 1795 having caught fever whilst working in the Kanheri caves. Sir Charles
Kondooty; Pandoo's Cave; Jugasree; Ekvera [exterior]; Ekvera [pillar and porch]; Malet took Wales's drawings of the cave-temples to England in 1798 and
Ekvera [porch]; Ekvera [interior]; 7 hand-coloured aquatints, (numbered I-III, commissioned Thomas Daniell to publish them. Wales's images of the
V-VIII), on J. Whatman 1801 watermarked paper, published by by Thomas Temple of Ellora were published in the sixth series of Oriental Scenery in
Daniell, London, 1803, unframed
1803, and together they planned to publish a further set of 24 aquatints
21Ω x 29ºin. (54.5 x 74.5cm.) each (7)
of the Antiquites of India, based on Wales's drawings of the lesser known
£2,500–3,500 $3,400–4,800 temples. Only 9 plates seem to have been issued.
€2,900–4,000
Wales's drawing, Daniell's proof engraving and the fnal aquatint of the
Only a very few sets of these plates appear to have been issued, and Archer interior of Ekvera ofer a fascinating insight into the processes behind
notes that the 8 views and 1 plan published by Daniell in 1803 were probably the production of the Daniell's aquatints. Ekvera, the Buddhist temple of
intended as another part of his own Antiquities of India (1799-1800). Henry Karli, is one of largest and most complete chaitya caves, lying at the top
Bohn listed the set as 'very scarce' in his catalogue of 1847, and Archer can of the Western Ghats. Wales was 'much surprised' at this 'stupendous
cite only one complete set, in the India Ofice Library. work', drawing the great hall with its high ribbed vault and vast columns
incorporating fgures on elephants. Archer notes that the proof engraving
Working in Bombay since 1791, Wales developed a great interest in the preserves the same angle of vision as the original drawing, but elongates
rock-cut temples of Western India. Whilst the Elephanta Temple was well the further end of the aisle, diminishing the number of roof beams. It is also
known to Europeans, Wales had also explored the lesser known sites of interesting to note that for the drawing of the temple of Jogesvari (Jugasree),
Karli (Ekvera), in the Western Ghats, and had been able to visit Pandoo's Wales chose his viewpoint in the inner hall as the only place where the light
cave (Panchalesvara) near Poona, through introductions by his patron, Sir enters 'allowing him to see his paper, and creating a contrast of light and
Charles Malet. Wales's intention was to turn his sketches and plans of shade on the columns. His rendering is extremely accurate.' (Archer).
these temples into a lavish work on the antiquities of India. Wales met the
Daniells in 1793, and was to become an important and infuential fgure in Not in Abbey. See appendix, M. Archer, Early Views of India, London: 1980; cf.
their projects. Impressed by Wales's drawings, the Daniells encouraged India Ofice, London (see Descriptive Catalogue of the Paintings.. in the India
him, and he in turn guided them to Jugasree (Jogesvari) and Kondooty Ofice, London: 1924, p.110). (10)
(Kondivate), although they did not visit Pandoo's cave or Ekvera. Wales
continued exploring the Western caves after the Daniells' departure, dying Another set of plates sold at Christie's, London, 24 September 2003, lot 52.
THE MOSCATELLI COLLECTION OF
MINIATURE PORTRAITS (LOTS 98-109)
98 (front) and (back)
~ 98
A DOUBLE-SIDED PORTRAIT MEDALLION: AN INDIAN LADY
AND AN EUROPEAN GENTLEMAN
INDIA, LATE 19TH CENTURY
Opaque pigments heightened with gold on ivory, the man in European dress,
wearing a pocket watch, the seated lady wearing a red sari, glazed and set in an
oval double sided frame mounted as a brooch
3in. (7.7cm.) high
£1,000–1,500 $1,400–2,000
€1,200–1,700
~ 99
PORTRAIT OF A SEATED NOBLE, POSSIBLY MIRZA 'ALI KHAN
BAHADUR
LUCKNOW, NORTH INDIA, LATE 18TH/EARLY 19TH CENTURY
Opaque pigments heightened with gold on ivory, facing left, in plain tunic and
headdress, holding a stick and a letter, a seascape in the background, mounted
5¬ x 3¬in. (14.4 x 9.4cm.)
£1,500–2,000 $2,100–2,700
€1,700–2,300
PROVENANCE:
Acquired in August 1972, thence by descent to the present owner
INSCRIPTION:
The inscription on the envelope held by the seated fgure can be partially read
as Mirza 'Ali Khan
99
~ 100
PORTRAIT OF MAHARAJA KESHRISINHJI JAWANSINHJI OF
IDAR
INDIA, LATE 19TH CENTURY
Opaque pigments heightened with gold on ivory, wearing an intricate turban
with sarpech and plume, a black tunic with British decorations
5in. (12.8cm.) high
£2,000–3,000 $2,800–4,100
€2,300–3,400
This portrait depicts H.H. Maharajadhiraja Maharaja Shri Sir Keshrisinhji

Jawansinhji Sahib Bahadur (1868 – 1901), Maharaja of Idar, KCSI (15.2.1887).
He became Heir Apparent with the title of Yuvraj Sahib at birth, and
succeeded to the position on the death of his father on 26th December 1868.
He ascended the gadi at Ahmadnagar Palace on 28th December 1868, and
reigned under a Council of Regency until he came of age and was invested
with full ruling powers in 1880. An open-minded ruler, he was very much
involved in the modernisation of the state. This portrait has been painted
from a photograph which has been published on The Royal Ark website
(https://www.royalark.net/India/idar2.htm).
~ 101
PORTRAIT OF MAHARAJA PRATAP SINGH OF NABHA
SIGNED KATHLEEN GOODMAN, INDIA, LATE 19TH/EARLY 20TH
CENTURY
Opaque pigments heightened with gold on ivory, wearing a white turban
with sarpech set with diamonds and hanging emeralds, a gilt tunic and heavy
necklaces of diamonds and pearls, framed and glazed
3æ X 3in. ( 9.6 x 7.8cm.)
£800–1,200 $1,100–1,600
€910–1,400
EXHIBITED:
Exhibited at the Society of Watercolor Artists Royal Institute Galleries, 195

Piccadilly London
LITERATURE:
Published in Raymond Lister, The British Miniature, Sir Isaac Pitmann & Sons,
1951
Pratap Singh was the last of the former Punjab princes to have ruled his
home state as Maharaja of Nabha, in North India, before it was merged into
the Union of Indian States after the independence in 1948.
97
~ 102
A DARBAR SCENE
INDIA, SECOND HALF 19TH CENTURY
Opaque pigments heightened with gold on ivory,
facing left, wearing a white tunic, smoking the
huqqa, surrounded by courtiers and musicians,
mounted
4æ X 6in. (12 x 15.2cm.)
£1,500–2,000 $2,100–2,700
€1,700–2,300
This painting could be a portrait of Maharaja Shri

Ishwari Prasad Narayan Singh (r.1835-89) seated
amongst his court musicians. For a short note on
Maharaja Shri Ishwari see the following lot.
102
~ 103
PORTRAIT OF MAHARAJA ISHWARI
PRASAD NARAYAN SINGH BAHADUR OF
BENARES
NORTH INDIA, LATE 19TH CENTURY
Opaque pigments heightened with gold on ivory, in
full regalia, mounted, with modern ftted box
6æin. (17.2cm.) high
£1,500–2,000 $2,100–2,700
€1,700–2,300
Maharaja Shri Ishwari Prasad Narayan Singh

(r.1835-89), was granted the title of Maharaja of
Benares in 1889 for staying loyal to the British
during the Indian Rebellion of 1857. Unfortunately,
he passed away shortly after being granted
the title. An album of photographs given to
Queen Victoria by Dr John William Tyler, 15th
January 1887 includes a photograph of him. This
miniature portrait would have been painted from
a photograph of the Maharaja as was often the
case during this period.
103
98 Other fees apply in addition to the hammer price – see Section D of our Conditions of Sale at the
t back of this Catalogue
104 105
~ 104 ~ 105
A MINIATURE PORTRAIT OF HYDER ALI PORTRAIT OF A RULER, POSSIBLY MAHARAJA SRI TULOJI II
INDIA, MID-19TH CENTURY [TULAJAJI] RAJE SAHIB BHONSLE CHHATRAPATI MAHARAJ
Opaque pigments heightened with gold on ivory, wearing an elaborate large INDIA, LATE 18TH/EARLY 19TH CENTURY
round turban with plumes and a red tunic Opaque pigments heightened with gold on ivory, wearing a large pink turban, a
3Ωin. (9cm.) high pink shawl thrown over his left shoulder, set in a pendant
3in. (7.6cm.) high
£1,200–1,800 $1,700–2,400
€1,400–2,000 £1,000–1,500 $1,400–2,000
€1,200–1,700
Hyder Ali Khan (c. 1720 – 7 December 1782) became the de facto ruler of
Mysore as Sarvadhikari (Chief Minister) by 1761. He fought against the Maharaja Sri Tuloji II was the Raja of Tanjore between 1763-1773 and 1776-
military advances of the British East India Company during the First and 1787.
Second Anglo–Mysore Wars, and he was the innovator of military use of the
iron-cased Mysorean rockets. He is well-known through his eldest son, Tipu
Sultan.
This miniature portrait was painted after the engraving by Robert Keck
after William Dickes, 1846. Dickes painted a fctitious image of Hyder Ali
to illustrate a novel by Walter Scott. Subsequently, Dickes’s image was
engraved by Keck and published in the frontispiece of Sir Walter Scott, The
Surgeon’s Daughter, Abbotsford Edition of the Waverley Novels 1846.
99
~ 106
PORTRAIT OF A LADY
PATNA, EAST INDIA, MID-19TH CENTURY
Opaque pigments on ivory, a riverine scene in the background, glazed and set
in an oval leather box
The box 3√in. (10cm.) high
£1,500–2,500 $2,100–3,400
€1,700–2,800
A companion watercolour of the same painting is in the Victoria and Albert

Museum (inv. no. IS.101-1949). That painting is probably by the artist Shiva
Dayal Lal, completed in Patna, ca. 1850.
106
~ 107
A NOBLE LADY
INDIA, 19TH CENTURY
Opaque pigments heightened with gold on ivory, wearing a blue sari tailored in
the European fashion, standing on a palace terrace, mounted
5æ x 4in. (14.6 x 10.2cm.)
£1,000–1,500 $1,400–2,000
€1,200–1,700
107
~ 108
NAWAB SAYYID HASSAN
INDIA, LATE 19TH/EARLY 20TH CENTURY
Opaque pigments heightened with gold on ivory, in European dress, mounted,
framed and glazed
9¡ x 7¿in. (23.8 x 18cm.) with frame
£1,500–2,000 $2,100–2,700
€1,700–2,300
INSCRIPTION:
Inscribed on the back: from Hassan Ali Khan, Painters of Delhi, no 5, Wellesley
Street, Calcutta 1+5+90
Sayyid Hassan 'Ali Mirza Bahadur (1881-1906), GCIE (Knight Grand

Commander) was the frst Nawab of Murshidabad and the eldest son of
Mansur 'Ali Khan, the last Nawab of Bengal. He succeeded Mansur Ali Khan
as the Nawab Bahadur of Murshidabad, after the title of Nawab of Bengal
was abolished in 1880. At his death in 1906, he was succeeded by his son,
Wasif 'Ali Mirza khan.
108
~ 109
BEGUM SAHIBA ZEENAT MAHAL
PROBABLY DELHI, MID-19TH CENTURY
Opaque pigments heightened with gold on ivory, facing left, in European
dress, mounted
3Ω x 3in. (9 x 7.8cm.)
£1,200–1,800 $1,700–2,400
€1,400–2,000
Begum Sahiba Zeenat Mahal (1823 -1886) was the de facto Empress who
ruled the Mughal Empire on behalf of the Emperor Bahadur Shah II Zafar.
She was his favourite wife and bore him a son, Mirza Jawan Bakht. A
photograph of her is housed in an album at the British Library (shelfmark:
Add.Or.5475, item no: f. 17v-18). That photograph is believed to be the only
photograph that exists of any Mughal empress.
109
101
A PRIVATE COLLECTION OF
INDIAN PAINTINGS
(LOTS 110-129)
103
110 111
AN ILLUSTRATION FROM A RAGAMALA SERIES: VIBHASA AN ILLUSTRATION TO A RAGAMALA SERIES: KEDARA RAGINI
RAGINI BUNDI, RAJASTHAN, NORTH INDIA, LATE 18TH CENTURY
PROVINCIAL MUGHAL INDIA, CIRCA 1610 Opaque pigments heightened with gold on paper, an ascetic wearing a
Opaque pigments heightened with gold on paper, a lover with a foral bow topknot and holding a vina is addressing a prince wearing a red tunic and
ofers a foral sprig to his beloved reclining on a couch, in thick black rule, with holding a string instrument, on the terrace of a domed pavilion, a peacock
red borders, the reverse with old inventory numbers in black ink and pencil above, within white rules, with thin dark blue borders and inventory entry
8¬ x 7in. (21.8 x 17.8cm.) number in pencil, the reverse with later inventory descriptions
8º x 4æin. (21 x 12cm.)
£1,500–2,000 $2,100–2,700
€1,700–2,300 £1,500–2,000 $2,100–2,700
€1,700–2,300
For a related Ragamala series catalogued as provincial Mughal circa 1610,
see Roda Ahluwalia, Rajput Painting: Romantic, Divine and Courtly Art from
India, London, 2008, no.6, p.18. A painting from the same series as that
ofered here sold at Christie’s, South Kensington, 12 June 2014, lot 5.
112 113
AN ASSEMBLY OF INTOXICATED DERVISHES AN ILLUSTRATION TO A RAGAMALA SERIES: GUJARI RAGINI
DECCAN, CENTRAL INDIA, SECOND HALF 18TH CENTURY BIKANER, RAJASTHAN, NORTH INDIA, EARLY 18TH CENTURY
Opaque pigments heightened with gold on paper, the dervishes depicted Opaque pigments heightened with gold on paper, the heroine playing the vina
intoxicated, in the front yard of a hut, a tree inhabited with monkeys in the seated on a river bank, an attendant behind, 3ll. of black devanagari script on
background, in grey margins within yellow rules, with narrow dark blue borders white ground in text panel above, in black and white rules, with red borders,
12º x 9¿in. (31 x 23.2cm.) the reverse with an identifcation inscription in black devanagari 'dipak raga ki
gujari / 38' (Gujari of Dipak Raga / 38) and old inventory numbers in ink and
£2,000–3,000 $2,800–4,100 pencil
€2,300–3,400 9æ x 8in. (24.8 x 20.2cm.)
INSCRIPTION: £2,500–3,500 $3,400–4,800

Inscription in minute black devanagari script (upper left): €2,900–4,000
kunwar shri mangal(?)...jodhpure de - Kunwar Mangal... of Jodhpur (possibly the
name of a previous owner)
Gatherings of dervishes are a recurrent theme in Mughal painting of the

17th and 18th century. The paintings seem to encapsulate the euphoric and
random state of mind of their intoxicated subjects and often feature fgures
dancing, reclining, drinking and sleeping – as here. Two similar compositions
are in private collections, each illustrated in Ludwig V. Habighorst, Peter A.
Reichart and Vijay Sharma, Love for Pleasure, Koblenz, 2007, pls.67 and 68,
pp.103 and 104. An early 17th century Mughal painting of the same subject
sold at Christie’s, London, 23 September 2005, lot 114. Another Deccani
version, although dated to circa 1640 and done in grisaille, sold at Christie’s,
London, 14 October 2003, lot 149.
105
114
A RAJA SMOKING A HUQQA, PERHAPS RAJA
SURMA SEN OF MANDI (R. 1781-88)
MANDI, PUNJAB HILLS, NORTH INDIA, FIRST QUARTER
19TH CENTURY
Opaque pigments on paper, depicted leaning against a bolster,
cloaked in an orange shawl, fanked by a mace bearer and a fy
whisk bearer, within white rules, with dark blue borders, the
reverse with inventory entry number in pencil
11 x 8in. (28 x 20.4cm.)
£2,000–3,000 $2,800–4,100
€2,300–3,400
PROVENANCE:
This nobleman resembles Raja Surma Sen (r. 1781-88) as he

appears in two paintings dated 1775 and 1780-85, respectively
in the Cleveland Museum of Art and formerly in the Archer
Collection (W.G. Archer, Indian Paintings from the Punjab Hills,
London and New York, 1973, no.29 and no.37 , vol.I, p.358
and p.360, vol.II, p.270 and p.272). Archer notes that Surma
Sen sligtly resembles his grandfather, Shiva Jawala Sen.
However, it is more likely that our painting dates to the frst
quarter of the 19th century as suggested by a portrait of Raja
Anirudh Chand of Kangra's son Mian Pramod Chand, now in
the Chandigarh Museum and dated circa 1830. The portrait
displays strikingly similar motifs woven into the carpets and
bolsters on which the sitters lean and sit (Archer, op.cit.,
no.39, vol.I, p.360, vol.II, p.272).
115
A PORTRAIT OF A RAJA
MANDI, PUNJAB HILLS, NORTH INDIA, EARLY 19TH
CENTURY
Opaque pigments on paper, depicted facing left, reclining on
a bolster and smoking a huqqa, fanked with attendants and a
fy whisk bearer, in thin black rule, with red borders, numbered
above, the reverse with Mandi royal collection stamp and
former inventory numbers in black ink and pencil
10 x 8ºin. (25.5 x 21cm.)
£1,500–2,000 $2,100–2,700
€1,700–2,300
PROVENANCE:
116
A LARGE EQUESTRIAN PORTRAIT OF KUNVAR
BAKHTAVAR SINGH CHUNDAWAT
DEVGARH, RAJASTHAN, NORTH INDIA, CIRCA 1780
Opaque pigments heightened with silver on paper, depicted
facing right on a prancing stallion, in full regalia, in thin silver
margins within thin black rules, in red borders, two lines of
white devanagari script above identifying the ruler, the reverse
with a faint preparatory sketch of the same, old inventory or
collection defaced stamp and inscriptions in black ink and
pencil
16Ω x 12in. (42 x 30.5cm.)
£3,000–4,000 $4,100–5,400
€3,400–4,500
Bakhtavar Singh was the younger son of Ragho Das (r.1776-

1786), the eighth Rawat of Devgarh. For a comparable late
eighteenth century equestrian portrait of another nobleman
which sold at auction, see Christie’s, London, 5 October 2010,
lot 365.
117
AN EQUESTRIAN PORTRAIT OF THAKUR ANOP
SINGH
GHANERAO, MARWAR, RAJASTHAN, NORTH INDIA,
CIRCA 1720
Opaque pigments heightened with gold on paper, the ruler
depicted facing right, on a chestnut steed, bearing arms, a fy
whisk bearer to his side, in thin black margin, with red borders,
the reverse with a faint preparatory sketch of a geometric
diagram, one line of loose black devanagari script identifying
the ruler, old inventory inscriptions in black ink and pencil
8æ x 12in. (22.4 x 30.5cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
INSCRIPTION:
In devanagari (on reverse): thakur shri anop singh ji gopi 'Thakur

Anop Singh (son of) Gopi'
Ghanerao is a small thikana located on the borders of Marwar

and Mewar in Rajasthan. The earliest known paintings from
Ghanerao can be dated to the reign of Thakur Pratap Singh
(r.1714-20). In the early 18th century, Ghanerao paintings
exhibit a strong infuence of the refned style seen in Jodhpur.
The present painting can be compared in style to a fne
Jodhpur equestrian portrait of Sonag Champawat of Pali, circa
1710-20, illustrated in R. Crill, Marwar Painting – A History
of the Jodhpur Style, Mumbai, 1999, fg.33, p.61. For another
comparable equestrian portrait from Ghanerao which sold at
auction, see Bonhams, London, 6 October 2015, lot 160.
107
118
AN ILLUSTRATION TO A RAGAMALA SERIES: ABHIRI RAGINI OF HINDOL RAGA
Opaque pigments heightened with gold on paper, the heroine looking at her refection in a mirror, in
foral, gold and dark blue margins, within thin white rules, with red borders, with identifcation inscription
in white devanagari script above "ragini abhiri hindole di / 5", the reverse with old inventory label and
inscriptions in black ink and pencil
9√ x 12in. (25 x 30.5cm.)
£6,000–8,000 $8,200–11,000
€6,800–9,100
Another illustration from this series sold at Christie's, London, 25 May 2017, lot 51. See also the following
lot.
119
AN ILLUSTRATION TO A RAGAMALA SERIES: PANCHAM PUTRA OF BHAIRAVA RAGA
Opaque pigments heightened with gold on paper, gods and animal-headed deities seated on either side
of Shiva, in foral and gold on dark blue ground margins, with red borders, identifcation inscription in
white devanagari script above 'raga pancham putra bhairave de / 2', the reverse with old inventory label and
numbers in ink and pencil
9√ x 12in. (25 x 30.5cm.)
£10,000–15,000 $14,000–20,000
€12,000–17,000
Another illustration from this series sold at Christie's, London, 25 May 2017, lot 51. See also the
preceding lot.
109
120
AN ILLUSTRATION TO A BARAMASA SERIES: THE MONTH OF BHADON
Opaque pigments heightened with gold on paper, Krishna and Radha under an umbrella seek refuge
from a storm in a white pavilion where a servant awaits with a dry garment, the reverse with old collection
attribution label, blue ink and pencil entry numbers, mounted
11º x 9Ωin. (28.5 x 24.4cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
For another painting of Krishna and Radha seeking refuge from the storm, in a near identical
composition to the present work, see W.G. Archer, Indian Paintings from the Punjab Hills, London and
New York, 1973, no.71, p.281. It is there attributed to Mandi, circa 1830-40.
121
AN ILLUSTRATION TO THE HARIVAMSA:
KRISHNA, BALARAMA AND ARJUNA
SEATED ON GARUDA
AFTER PURKHU, KANGRA, PUNJAB HILLS,
NORTH INDIA, CIRCA 1820-40
paper, in thick red, black and white rules, with red
borders, with front fy-leaf, numbered, the reverse
with old inventory numbers in black ink and pencil
11 x 8¿in. (28 x 20.5cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
122
THE DISROBING OF DRAUPADI
MANDI, PUNJAB HILLS, NORTH INDIA, LATE
18TH/EARLY 19TH CENTURY
the blind king Dhritarashtra depicted sitting in the
middle with the gambling Kauravas to his right
and the Pandavas seated to his left, Duhshasana
attempts to disrobe Draupadi as Krishna watches
from the upper left corner, in black and white rules,
with red borders, the front fy-leaf with Mandi
royal collection stamps, the reverse with a line
of devanagari script, old inventory inscriptions in
black ink and pencil
9 x 11Ωin. (22.8 x 29.2cm.)
£3,000–4,000 $4,100–5,400
€3,400–4,500
PROVENANCE:
INSCRIPTION:
In Devanagari script (on the reverse): draupadi si

marat naam hari / arjun bhim mahavali jodha unso
kachhu nasaree... 'Draupadi keeps repeating the
name of Hari / Arjun Bhim, the great warriors,
could do nothing...'
In this episode from the Mahabharata, the blind

king Dhritarashtra is seated in the middle with
his sons, the Kauravas, before him. Four Pandava
brothers are seated to his left. The eldest
Pandava, Yudhisthira, stands before Duryodhana
with folded hands. In a disastrous dice game,
the Pandavas have gambled away their wealth,
freedom and even their wife Draupadi, to the
Kauravas and will soon be exiled from the
kingdom. Duhshasana, one of the Kaurava
princes, drags Draupadi through the audience
hall and begins disrobing her. Draupadi calls upon
Krishna to save her honour. As Duhshasana strips
a piece of clothing of Draupadi, Krishna replaces
it with another and soon the heap of coloured
fabric collecting at her feet begins to grow.
111
123
AN ILLUSTRATION TO THE DEVI
MAHATMYA SERIES: DURGA AND KALI
FACING THE DEMON ARMY
GULER OR KANGRA, PUNJAB HILLS, NORTH
INDIA, SECOND QUARTER 19TH CENTURY
in a hilly landscape, within polychrome rules,
with pink borders, the reverse with a line of black
devanagari script and old inventory numbers in
black ink and pencil
9Ω x 12ºin. (24 x 31cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
123
124
AN ILLUSTRATION TO A DEVI
MAHATMYA SERIES: DURGA BATTLES
DEMONS
GULER, PUNJAB HILLS, NORTH INDIA,
EARLY 19TH CENTURY
the goddess depicted in the melee engaging a
multi-armed demon, slain demons beneath her, in
foral and gold margins on blue ground, with pink
borders, the reverse with old inventory inscriptions
in blue ink and pencil
11¡ x 9√in. (28.8 x 25cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
124
125
THE GODDESSES DURGA AND KALI
SIGNED BY RADHA MUSAVVIR, COMPANY SCHOOL, INDIA, SECOND HALF 19TH CENTURY
Opaque pigments heightened with gold on paper, Kali preceding Durga mounted on a bejewelled tiger, in
elegant scrolling foral margins within gold and polychrome rules, with white borders, signed in Persian
along the bottom edge, the reverse with inscriptions in Persian and devanagari, and old label
9æ x 13in. (24.8 x 33cm.)
£2,500–3,500 $3,400–4,800
€2,900–4,000
This painting depicts Durga, the great warrior goddess, seated serenely on her tiger, and Kali who
represents the ferce aspect of Durga’s divine power. During a long battle between the gods and the
demons, Durga is enlisted to fght the demon brothers, Shumbha and Nishumbha. Kali, an emanation of
Durga’s ferocious capabilities, erupts from her forehead as a wild-haired and emaciated warrior carrying
a tiger skin and wearing a necklace of skulls. She beheads the generals of the asura army, Chanda
and Munda, and presents their heads to Durga. In turn, Durga crowns Kali with the victorious title,
Chamunda.
113
126
A SIKH SCHOOL
LAHORE, PUNJAB PLAINS, CIRCA 1840
depicting a kneeling teacher facing seven reading
pupils, a street scene before the school, in thick
light blue and pink margins, mounted
10æ x 14¬in. (27.4 x 37.4cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
This painting belongs to a known series of

depictions of trades and occupations in the
Punjab. A number were sold at auction recently
including paintings of a brass merchant
(Bonham’s, London, 05 April 2011, lot 305;
Christie’s, South Kensington, 10 June 2013,
lot 175; Sotheby’s, London, the Sven Ghalin
collection, 06 October 2015, lot 104); or that of an
apothecary (Bonhams, London, 14 March 2016,
lot 113). An illustration of a cloth merchant’s shop
is in the Brooklyn Museum, attributed to Lahore,
circa 1850 (Amy Poster, Realms of Heroism, New
126 York, 1994, cat.247, p.298). The Brooklyn painting
is ascribed to Basarat, son of Dutta.
They all follow a formal set up following a simple

guideline: to portray an infuential fgure, a rich
merchant or patron, usually depicted composed
and sitting, visiting a merchant’s shop. In this
case we are looking at a teacher and his pupils.
These paintings are an interesting take on the
more formal and repeated formula of the ruler
and attendants set within a courtly context. The
perspective, the realistic rendering and the light
atmosphere of the scene make this painting, and
the others of the series, very informative. Such
paintings were intentionally directed to a foreign
audience and fulflled the demand of British
patrons in India.
127
AN ILLUSTRATION TO AN EPIC
KANGRA, PUNJAB HILLS, NORTH INDIA,
CIRCA 1840
a dismissed lady meets two courtiers outside a
palace wall, in thick black rule, with red borders,
the reverse with faint unrelated Bilaspur stamp
reading ‘on Bilaspur state service’, numbered, old
inventory inscriptions in black ink and pencil
10¡ x 12ºin. (26.5 x 31cm.)
£2,000–3,000 $2,800–4,100
€2,300–3,400
127
128
RAMA AND LAKSHMANA IN A PALACE
RECEPTION
KANGRA, PUNJAB HILLS, NORTH INDIA,
FIRST HALF 19TH CENTURY
the two brothers and Sita paying their respects
before leaving a palace, the reverse with old
inventory label and numbers in black ink and pencil
9 x 12æin. (23 x 32.4cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
129
128
AN EQUESTRIAN PORTRAIT OF GURU
GOBIND SINGH
PUNJAB PLAINS, SECOND HALF 19TH
CENTURY
in white and gold foral margins on blue ground,
with red borders within thin white rules, with
added fy-leaf, the reverse Mandi royal collection
stamp and old inventory inscriptions in black ink
and pencil
12¬ x 10¿in. (32.2 x 25.6cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
PROVENANCE:
Gobind Singh was the tenth and last nanak

or Sikh preacher. He is credited with having
formalised the religion. Contemporaneous to
the Emperor Aurangzeb, he faced the Mughal
armies and was fnally assassinated in 1708 while
at camp expecting a Mughal delegation sent by
Aurangzeb’s successor, Bahadur Shah, to broker
peace.
Portraits of gurus are idealised as opposed

to realistic likenesses. Painters relied on oral
tradition and existing literature, either sacred or
profane, to form an iconography (Susan Stronge
(ed.), The Arts of the Sikh Kingdoms, London,
1999, p. 209 and pl.32, p.36, p.209). Gorbind
Singh’s falcon and wrist umbrella bearer denotes
power and royalty whilst a following angel holding
a fywhisk, as seen in the portrait illustrated ibid
1999, pl.32, p.36, signify saintlhood.
Another equestrian portrait of Gobind Singh

showing him with a facon on his wrist and
followed by an umbrella bearer sold at Christie’s,
South Kensington, 23 April 2012, lot 324.
129
115
VARIOUS PROPERTIES
130 131
A JAMAWAR SHAWL A DORUKHA SHAWL
KASHMIR, NORTH INDIA, CIRCA 1800-10 KASHMIR, NORTH INDIA, LATE 19TH CENTURY
The fnely woven pashmina cream feld with botehs at either corner, either The central mustard feld embroidered on both sides with 'reversible' inward
end with eight rows of foral sprays and shrubs, the thin hashiya edge with facing botehs at either corner, the borders with a foral garland, a register of
repeating foral blooms interspersed with chevrons cusped niche to either end
40 x 42in. (101.6 x 106cm.) 125 x 50Ωin. (317.5 x 128.2cm.)
£5,000–7,000 $6,800–9,500 £3,000–5,000 $4,100–6,800

€5,700–7,900 €3,400–5,700
Shawls began to attract the attention of Europeans as desirable items of Dorukha or 'reversible' shawls appeared in the 1860s. They are fnely woven
dress during the last quarter of the 18th century and they rapidly became shawls 'in which all the loose threads on the reverse have been trimmed and
highly fashionable. Warren Hastings, governor-general, is known to have secured by embroidery so that both sides appeared equally well fnished
commissioned shawls for his wife as early as 1784 which he describes as (Susan Stronge (ed.), The Arts of the Sikh Kingdoms, Frome, 1999, p.129).
'beautiful beyond imagination' (Susan Stronge (ed.), The Arts of the Sikh
Kingdoms, Frome, 1999, pp.118-119). It accorded very well with the Empire
style of the early 19th century - Empress Eugénie of France is known to have
had a huge shawl collection (Stronge, op.cit., 1999, p.119). A similar shawl
sold at Christie's, South Kensington, 19 October 2001, lot 4.
132
A FIGURAL AMLIKAR SHAWL
KASHMIR, NORTH INDIA, THIRD QUARTER 19TH CENTURY
The central feld arranged in four squares of variously coloured ground,
botehs at either corner rising towards a central roundel decorated with
numerous fgures seated within arches, angels fying around, the feld
bordered with large arches under which stand couples in discussion,
musicians and horsemen, further fgures around in pavilions, backed with
blue silk
40 x 42Ωin. (101.6 x 108.2cm.)
£8,000–12,000 $11,000–16,000
€9,100–14,000
Shawls with embroidered designs rather than woven decoration started

to be made in Punjab in the early 19th century. These embroidered
shawls are known as amlikar shawls. Whilst embroidered designs frst
imitated woven ones, the new fgural genre seen on our shawl arose in
about 1830, It was used mostly for sashes (patkas) and the edges of
robes (chogas). The most elaborate pieces were executed in Srinagar
and in the Kashmir valley such as a shawl made for Gulab Singh in
1852, now in Chandighar, for which he is said to have paid 50,000
rupees (Susan Stronge (ed.), The Arts of the Sikh Kingdoms, London,
1999, cat.143, pp.127-129). See also the well-known map shawl woven in
Srinagar circa 1875 and now in the Victoria and Albert Museum, London,
which is dated to circa 1875 (IS.31.1970) and a fnely embroidered
Kashmir coat dated circa 1840 sold at Christie's, South Kensington, 10
June 2013, lot 337.
117
133
A LARGE COMMEMORATIVE GEM-SET SILVER CASKET
NORTH INDIA, POSSIBLY TONK, RAJASTHAN, CIRCA 1911
On ball and claw feet, the surface with chased bands of scrolling foliage
with fowers and buds and set with sapphires, rubies, zircons and cabochon
turquoises, the hinged lid with the coat of arms of Tonk state, framed by the
titles Tonk State and Durbar's English Oficer, the inside gilt, in original red
velvet case with handles and cloth outer cover, an old note pinned to it
17 x 42 x 29.5cm. (6æ x 16Ω x 11¬in.)
£20,000–30,000 $28,000–41,000
€23,000–34,000
PROVENANCE:
Given to Captain Granville Soames by Lord Hardinge of Penshurst
This box was given to Captain Granville Soames by Lord Hardinge of that our box was created on the occasion of this momentous event. The
Penshurst. Captain Arthur Granville Soames, OBE (1886-1962) was a inscription on the top of the box however mentions Tonk, a small Princely State
member of the Coldstream Guards. Charles Hardinge, 1st Baron Hardinge of in Rajasthan under the British Raj with scattered pockets of territory. It also
Penshurst, KG, GCB, GCSI, GCMG, GCIE, GCVO, ISO, PC, DL (1858-1944) mentions the ‘Durbar’s English Ofice’ which may refer to an oficial within the
was a diplomat and statesman who served as Viceroy and Governor-General residency the British established at Tonk. The oficial would have attended
of India from 1910 to 1916. the state’s durbar. It is also therefore possible that the durbar referred to here
might not be the Delhi durbar but rather a more provincial one. It is possible
During Lord Hardinge’s tenure of ofice, the only Delhi Durbar to be attended that the box was originally a gift from the Nawabof Tonk (who at the time was
by a King-Emperor and consort took place with King George V and Queen Sir Muhammad Ibrahim Ali Khan, GCIE) to whomever served in this capacity
Mary in attendance. This happened in 1911 and it thus tempting to suggest at the time.
119
134
134
A GILT SILVER PUNCH SERVICE
LUCKNOW, NORTH INDIA, CIRCA 1890
Consisting of a footed bowl and nine individual smaller bowls, each on plain
base engraved with a geometric lotus bloom maker's mark, the ten pieces with
typical silver repousse hunting scenes, each with Swedish proof and assay
marks
The footed bowl 7in. (17.8cm.) diam, the individual bowls 4Ω1in. (11.5cm.) diam.
(10)
£3,000–5,000$4,100–6,800
€3,400–5,700
Visit www.christies.com for additional information on this lot
* 135
A GEM-SET AND ENAMELLED GILT SILVER BOX
BENARES OR JAIPUR, NORTH INDIA, LATE 19TH CENTURY
Of octagonal form, the gem-set hinged lid decorated with polychrome
enamelled floral and foliate motifs, the sides with enamelled flower heads,
birds and other animals within cusped cartouches, the inside gilded and the 135
underside engraved with scrolling floral vines
1√ x 2¡ x 1¿in. (4.8 x 6 x 2.7cm.)
£1,500–2,000$2,100–2,700
€1,700–2,300
136
A FIGURAL GILT AND ENAMELLED SILVER TRAY
LUCKNOW, NORTH INDIA, EARLY 19TH CENTURY
The enamelled decoration consisting of an elephant, deer
and a lion amidst profuse floral ground, the slightly curved rim
with repeating split palmettes, the reverse with label inscribed
'Jeypore enamel'
6in. (15.2cm.) diam.
£3,000–5,000$4,100–6,800
€3,400–5,700
The enamelling on this silver tray is related to the work

associated with Lucknow. A dhal in the Royal Collection
which was given to Edward Albert Prince of Wales (later
King Edward VII) by the ruler of Kashmire has very similar
enamelling also in blues and greens and composed of animal
and floral motifs (inv. RCIN 11278).
136
■ 137
A LARGE DARK WOOD OPENWORK SCREEN
WEST INDIA, SECOND HALF 19TH/EARLY 20TH CENTURY
With arched top, the side panels with geometric decoration, the central panel with Hindu deities including
Krishna and Radha, Lakshmi, Vishnu and Ganesh within niches flanked by floral sprays amidst dense
foliate and floral decoration, on stand
88in. (223.5cm.) long, 79in. (200.8cm.) high
(3)
£10,000–15,000$14,000–20,000
€12,000–17,000
This folding screen is elegantly decorated combining geometric forms and depictions of deities
within lobed arches. The recognisable deities are rendered in a folk-style like the bronzes found in
Bengal. However, the square open-work panels with their intricate interlocked or re-iterated geometric
forms, find parallel in the red sandstone and white marble jalis found in Mughal palaces. The upper
hemispherical panel echoes the jalis of the Ahmedabad Jami masjid. The impressive size of our screen
and the melange of style perhaps suggests a production for a particular event, perhaps one of the many
European exhibitions of the late 19th century.
121
138
VISHNU HOLDING A MACE AND LOTUS
PROBABLY BILASPUR, PUNJAB HILLS,
Opaque pigments heightened with gold and silver
on paper, a crowned deity holding a mace and a
lotus, standing within a cusped arch, within thin
black rules, with red borders, the reverse with
numbered Mandi royal collection stamp
8Ω x 6ºin. (21.6 x 16cm.)
£8,000–12,000 $11,000–16,000
€9,100–14,000
PROVENANCE:
This painting is from a dispersed album which

was once in the Mandi royal collection. Most of
the paintings in the album are of Hindu deities,
the Dasavatara (Ten Incarnations) of Vishnu, as
well as ragamala subjects. The paintings are all
skilfully executed with raised impasto used for
the attributes held by the deities, their golden
crowns and jewellery details. Dating from the
early eighteenth century, almost all the known
folios have large bold depictions of the deities,
standing in profle facing left, occupying most of
the pictorial space. They appear to be related to
a well-known slightly earlier ragamala set, dating
to circa 1690-1700, illustrated in a similar vertical
format with identical borders, which has been
attributed by scholars to Bilaspur or Chamba. For
an illustration from this ragamala series, see the
following lot, 139. For another painting from the
album depicting the monkey-god, ‘Hanuman’, see
F. Galloway, Treasures from India, London, 2006,
no. 49, p.130, ill. p.131. Other paintings from the
album have sold recently at auction (see Christie’s
South Kensington, 10 June 2013, lots 2-4). Lot
3 with an almost identical composition depicts
the same fgure as our painting standing under
a similar cusped arch holding a bow and arrow,
possibly Rama, the eighth incarnation of Vishnu.
Also, see Sotheby’s, New York, 29 March 2006,
lot 172, for a similarly illustrated fgure as our
painting carrying a bow and a manuscript.
139
AN ILLUSTRATION TO A RAGAMALA
SERIES: SORATH RAGINI, WIFE OF MEGH
RAGA
CHAMBA OR BILASPUR, PUNJAB HILLS,
a lady seated on a throne as she feeds a pair of
cranes, a female fy whisk bearer to her side, within
thin black rules, with red borders, the reverse
138 with two lines of takri, one line of devanagari
script in black ink and with numbered royal Mandi
collection stamp
8Ω x 6ºin. (21.6 x 16cm.)
£15,000–20,000 $21,000–27,000
€17,000–23,000
PROVENANCE:
INSCRIPTION:
In Devanagari - ragini sorathi meghe di bharya

122
Sorath Ragini as a musical raga belongs to the
winter season and is performed in the frst quarter
of the night. The medieval priest Mesakarna’s verse
compares the music to the sound of a fock of cranes.
In his classifcation of the ragamala system, Sorath
Ragini is the second wife of Megh Raga. Ebeling
describes the iconography of this ragini, in the Pahari
tradition, as a lady standing between two cranes or a
seated lady feeding peacocks (K. Ebeling, Ragamala
Painting, Basel, 1973, p.281). In the present painting,
the ragini is illustrated as a lady seated on an
elaborate throne feeding two cranes, while a female
attendant stands behind her with a fywhisk. Another
known illustration of this ragini with comparable
iconography, from Bilaspur dated circa 1680-1700,
depicts a lady seated on a throne holding a crane in
her lap, an attendant with a fywhisk behind her and
another kneeling in front with a dish to feed the crane
(see W.G. Archer, Indian Paintings from the Punjab
Hills, London, 1973, Bilaspur no. 18 (i), p.176; sold at
Christie’s, London, 23 September 2005, lot 60).
This painting is part of a well-known ragamala series

from a dispersed album which was once in the Mandi
royal collection. Along with ragamala illustrations, the
album also included a Dasavatara (Ten Incarnations
of Vishnu) series. The original place of production
of the album, whether Chamba or Bilaspur, has
been debated by scholars. After a recent study of
illustrations from the Moscatelli collection, noting
a particular style of Chamba turban in some folios,
Catherine Glynn attributed the album to the court
of Chamba (C. Glynn, R. Skelton, A. Dallapiccola,
Ragamala Paintings from India from the Claudio
Moscatelli Collection, London, 2011, p.34). J. P. Losty
notes a heavy infuence of Mughal and Deccani
painting, the prevalence of vertical format ragamalas
from Bilaspur, the style of rendering the eyes of
fgures almost three-dimensionally, amongst other
evidence, and argues for Bilaspur as the origin for the
album (J.P. Losty, A Mystical Realm of Love - Pahari
Paintings from the Eva and Konrad Seitz Collection,
London, 2017, pp.226-227). A close comparable to
our illustration is Suhi Ragini, another wife of Megh
Raga, from the same ragamala series. The ragini has
the same face as our lady and is seated on an identical
high-backed throne framed by scalloped arches
and with orange waisted leg supports below. The
background is a deep maroon in both paintings, a strip
of blue sky with white clouds above. Losty suggests
the shape of the throne, the rich colour contrasts and
the deep colour of the background are all indicative of
Deccani infuence on this series. (J.P. Losty, op. cit, no.
61, pp. 230-231).
For further folios from this album, see J.P. Losty, op. 139
cit, nos. 60, 62, pp. 228-229, C. Glynn, R. Skelton, A.

Dallapiccola, Ragamala Paintings from India from the
Claudio Moscatelli Collection, London, 2011, nos.7-9,
pp.52-57; and T. McInerney, S. Kossak, N. Najat-
Haidar, Divine Pleasures: Painting from India’s Rajput
Courts – The Kronos Collections, New York, 2016,
nos. 45-48, pp.142-149. For folios which have sold
at auction, see Christie’s, London, 25 May 2017, lots
22-23; 26 May 2016, lots 61-62; 25 April 2013, lot 184;
Christie’s, South Kensington, 10 June 2013, lots 2-7;
Christie’s, New York, 18 September 2013, lot 357A.
123
140
A RAJA HOLDING A FLOWER, PROBABLY RAJA HARI DEV OF JAMMU
BASOHLI, PUNJAB HILLS NORTH INDIA, CIRCA 1700
Opaque pigments and gold on paper, seated against a large red bolster, a foral carpet on the foor, he holds
a rose in his right hand, his left hand resting on his tulwar's hilt, with red borders
6¡ x 5.æin. (16.4 x 14.7cm.)
£30,000–40,000 $41,000–54,000
€34,000–45,000
PROVENANCE:
Ananda Kentish Coomaraswamy (1877-1947)

Christie's South Kensington, 11 October 2011, lot 555
Raja Hari Dev was Raja of Jammu between 1650 and 1688. Two Mankot portraits of him, dated circa
1670 are published in W. G. Archer, Indian Paintings of the Punjab Hills, 1973, vol. I, p.373, nos.5 and
6; vol. II, p. 285, nos. 5 and 6. Versions of the two-toned mauve carpet on which the Raja sits appear
in a number of contemporary paintings from Basohli and it is probable that our portrait was painted
there. See for instance a portrait of Raja Kirpal Pal (r.1685-90) in the collection of Baron and Baroness
Bachofen von Echt, or a painting depicting Prince Medini Pal of Basohli, dated 1730 in the Soustiel
Collection. A portrait of Sangram Pal in the Museum of Fine Arts, Boston, also shows a similar carpet
although with a deeper rust colour.
141
ASCETICS IN THE WILDERNESS
NORTH INDIA, CIRCA 18TH CENTURY
Opaque pigments on paper, four ascetics in
conversation near a hut amidst forested hills, wild
animals around them, in narrow red borders
5º x 6Ωin. (13.5 x 16.5cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
* 142
AN ILLUSTRATION TO A DASAVATARA
SERIES: VARAHA KILLING THE DEMON
HIRANYAKSHA
ATTRIBUTABLE TO THE MASTER AT THE
COURT OF CHHATTAR SINGH, CHAMBA,
PUNJAB HILLS, NORTH INDIA, CIRCA 1700
the avatara trampling the yaksha and retrieving the
Earth as a goddess Bhudevi from the primordial
waters, in thin black margins and black rules, with
red borders, the reverse numbered 7 in black ink
8º x 10¿in. (21 x 25.7cm.)
£8,000–12,000 $11,000–16,000
€9,100–14,000
Another painting from this series, depicting the

141
Churning of the Ocean, is in the Rietberg Museum,
Zurich (acc.no.RVI 1249; B.N. Goswamy and
Eberhard Fischer, Pahari Masters, Court Painters
of Northern India, Zurich, 1992, cat.57, pp.146-
147). In their discussion of the Zurich painting,
Goswamy and Fischer note that the artist gives
great attention to the rendering of the demons; a
quality that clearly appears in the present depiction
of the struggle between Varaha and Hiryanaksha.
Another painting from the same workshop is in the
Brown and Wonner collection (Goswamy, op.cit.,
p.146). The works attributed to the Master at the
Court of Chhattar Singh of Chamba belong to a
formative period of styles in Chamba, for which
there is little documented evidence. He was active
under the reign of Chhattar Singh (1664-90) and
that of his successor Raja Udai Singh (1690-1720)
but unfortunately none of his paintings appear
to be signed or dated. One of his key works is a
portrait of Chhattar Singh surrounded by young
men in the National Museum, Delhi (Goswamy,
op.cit., fg.36, p.130). Another portrait was ofered
at Christie's, London, 26 May 2016, lot 76. Whilst
the construction of our painting appears simple, it is
carefully done: Varaha's foot tramples the demon's
body, the demon's sword blade passes through his
right arm whilst his left passes through his horns.
His right hand holds his long white beard and
tongue, completing what looks like a fgure-of-eight.
A number of fsh and a makara foat on the water as
to witness the scene more carefully. The use of gold
leaf applied on Varaha's jewels clearly shows that
it was an expensive painting, executed with great
attention to detail. The green background and grey
142
ocean with white patterns, parallel lines and dotted
foam crests are characteristic of the Master's
work and he particularly excelled in suggesting
rounded body forms: see for instance Hiranyaksha's
delicately painted knees.
127
PROPERTY FROM THE ESTATE OF WILLIAM KELLY SIMPSON
* 143
AN ILLUSTRATION FROM THE 'LARGE' GULER-BASOHLI
BHAGAVATA PURANA SERIES: KRISHNA ATTACKED BY
DHENUKASURA AS HIS COMPANIONS GATHER FRUIT
FIRST GENERATION AFTER MANAKU AND NAINSUKH, PUNJAB
HILLS, NORTH INDIA, CIRCA 1760-65
Opaque pigments heightened with gold on paper, depicting the donkey
demon Dhenuka kicking Krishna with its hind legs as he shakes fruit of
palm trees, Balarama raises his arms at the approaching donkeys while
gopas gather the fallen fruit, with narrow black margin, double white rules
and red borders, the reverse with 2 ll. of takri and 3 ll. of black devanagari
script describing the scene, with protective fy leaf
Painting 9¿ x 13in. (23.1 x 33cm.); folio 12¿ x 15¬in. (30.8 x 39.8cm.)
£20,000–30,000 $28,000–41,000
€23,000–34,000
This illustration is from a large series which W.G. Archer referred to as

the ‘Large’ Guler-Basohli Bhagavata Purana series or the ‘Fifth’ Basohli
Bhagavata Purana series of 1760-65 (W.G. Archer, Indian Paintings from the
Punjab Hills, London 1973, Vol.I, Basohli 22, pp.49-51). The composition
of the illustrations and the style of painting exhibit a strong dependence
and awareness of the work of Manaku and Nainsukh, sons of Pandit Seu,
and the most renowned Pahari astists of this period. B.N. Goswamy and
Eberhard Fischer note that the series is often attributed to Manaku’s son
Fattu who was taught by his father. Fattu is thought to have lived with his
uncle Nainsukh in Basohli for some time and would have, therefore, also
incorporated artistic elements from the latter. It is possible that one of
Nainsukh’s sons was also involved in the series (Milo C. Beach, Eberhard
Fischer, B.N. Goswamy (eds)., Masters of Indian Painting 1650-1900,
London, 2011, p.689). Although dificult to frmly attribute the series to
any one painter from the frst generation after Manaku and Nainsukh, it
is evident that a ‘family style’ can be recognised. Basohli was originally
suggested as the place of production but it now seems more appropriate
to link the series to a group of painters than to a specifc place in the
Pahari region. For a list of known series and individual works attributed to
this remarkable group of painters, see Beach, Fischer, Goswamy, op. cit.,
2011, pp.689-694.
The majority of this set was sold at Sotheby’s, London in February 1960
from the collection of Mrs. F.C. Smith. It is now widely dispersed among
various public and private collections. The paintings all bear inscriptions on
the reverse in takri and Devanagari describing the illustrations. Some have
red borders with black rules, others with black and double white rules.
The image sizes vary. The earlier folios like ours have images measuring
approx. 23 x 33 cm. and the later folios, slightly larger images.
This illustration is from the tenth book of the Bhagavata Purana which
describes episodes from the life of Krishna. Dhenukasura, the donkey
demon, ruled over a forest of tala or palm trees with his attendant demons,
near the banks of the river Yamuna, close to where Krishna and Balarama
were raised. All the cowherds, including Krishna, were afraid to enter. On
seeing even his brother hesitate to enter the forest, Balarama charged
in and shook the trees causing its fruit to fall heavily on the ground.
While the gopas gathered the sweet fruit, the sound awoke an enraged
Dhenukasura. The demon attacked Balarama and a fght ensued, ending
only after Krishna knocked the demon unconscious. Balarama inficted the
killing blow with his fst, and the demon was vanquished. While Balarama
is generally acknowledged to be the hero of this episode, the artist of this
illustration has chosen to depict Krishna as the central focus.
For other paintings from this series which have sold at auction, see
Christie’s, London, 10 June 2015, lots 52-56; Christie’s South Kensington,
10 June 2013, lot 277 and 7 October 2011, lots 394, 395.
VARIOUS PROPERTIES
144
KRISHNA AND BALARAMA GRAPPLE WITH THE WRESTLERS CHANURA AND
MUSHTIKA AT THE COURT OF THE TYRANT KING KANSA
GULER, PUNJAB HILLS, NORTH INDIA, CIRCA 1790-1810
Opaque pigments heightened with gold on paper, in front of an audience of courtiers seated on raised
platforms together with a crowd and musicians in a palace courtyard, in foral margins on dark ground,
within red rules, with red speckled light pink borders, the reverse with a 2 ll. inscription in black takri
13Ω x 10√in. (34.4 x 27.7cm.)
£15,000–20,000 $21,000–27,000
€17,000–23,000
145
KRISHNA WITH PRADYUMNA AND RUKMANI IN A PALACE INTERIOR
MANDI OR KANGRA, PUNJAB HILLS, NORTH INDIA, CIRCA 1820-30
Opaque pigments heightened with gold on paper, Krishna seated with his son Pradyumna and other
noblemen, his consort Rukmani seated on a terrace above with her attendants, entertained by musicians
in a palace interior, in narrow blue margins, in red speckled pink borders, an inscription in black devanagari
to the reverse describing the scene, the fy leaf with numbered Mandi royal collection stamp
12 x 15¡in. (30.5 x 39cm.)
£15,000–20,000 $21,000–27,000
€17,000–23,000
PROVENANCE:
This painting is an illustration from the tenth book of the Bhagavata Purana which deals with the life of
Krishna. Krishna is depicted in conversation with his son Pradyumna who sits before him with folded
hands. The scene is set in Krishna’s resplendent golden palace in Dwarka. Pradyumna was the son of
Krishna and Rukmani and is often depicted in Pahari painting as a constant companion of Krishna. The
most well-known episode is of Pradyumna battling the demon Nikumbha alongside Krishna and Arjuna.
For a larger Kangra painting from the same period and of comparable composition to the present work,
depicting celebrations at the birth of Pradyumna in the palace at Dwarka, see Christie’s, London,
15 October 2002, lot 181.
131
* 146 147
KRISHNA AND RADHA KRISHNA AND RADHA IN A GROVE
KANGRA, PUNJAB HILLS, NORTH INDIA, CIRCA 1810 GARWHAL, PUNJAB HILLS, NORTH INDIA, 18TH CENTURY
Opaque pigments heightened with gold on paper, the couple depicted holding Possibly an illustration to a Sat Sai series. Opaque pigments heightened with
hands, he holding a fute, she bringing a fower to her nose, near a river, under a gold on paper, depicted twice walking hand in hand, and sitting in a clearing,
blossoming tree, in thin foral borders her head resting on his lap, within oval yellow margins and pale pink borders,
7¬ x 4√in. (19.3 x 12.4cm.) within thin black and red rules
10æ x 8æin. (27.4 x 22.2cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800 £7,000–10,000 $9,600–14,000
€8,000–11,000
148
AN ILLUSTRATION TO A RASIKAPRIYA SERIES
JAIPUR, RAJASTHAN, NORTH INDIA, SECOND QUARTER 19TH CENTURY
Opaque pigments heightened with gold on paper, Krishna and Radha reclining on bolsters beneath a
canopy in a palace courtyard, in narrow polychrome margins, with foral borders
11º x 15¬in. (28.6 x 39.8cm.)
£3,000–4,000 $4,100–5,400
€3,400–4,500
This painting is an illustration to the Hindi text the Rasikapriya ('A Connoisseur's Delight'). The author,
Keshav Das, wrote it in Orchha in Madhya Pradesh in 1591. It is concerned mainly with love and types of
lovers, and these are usually represented by the Hindu god Krishna and his mortal lover, Radha. Three
other illustrations from this Jaipur series sold at Christie's, London, 10 June 2015, lots 94, 95 and 96.
133
149 150
* 149 150 * 151

THE GODDESS DEVI ENTHRONED A PRINCESS AND HER COURTIERS ON A THE GODDESS GANGA
KANGRA, PUNJAB HILLS, NORTH INDIA, PALACE TERRACE KANGRA, PUNJAB HILLS, NORTH INDIA,
FIRST HALF 19TH CENTURY KANGRA, NORTH INDIA, SECOND HALF CIRCA 1820
Opaque pigments heightened with gold on 19TH CENTURY Opaque pigments heightened with gold on paper,
paper, in a pavilion in a mountainous landscape, Opaque pigments heightened with gold on paper, depicted seated on her mount makara and holding
worshipped by deities and ascetics, with foral the princess in a white tunic reclining on a large her attributes, within foral spandrels, in gold foral
margins on black ground, mounted bolster, two kneeling courtiers facing her, her margins on blue ground, within red rules and thin
14 x 11in. (35.6 x 27.9cm.) attendants behind her, one fanning her, 3ll. of bold borders
devanagari script below, in foral margins within 10¿ x 7¬in. (25.6 x 19.4cm.)
£5,000–8,000 $6,800–11,000
thin blue rules
€5,700–9,100 £3,000–4,000 $4,100–5,400
11Ω x 9Ωin. (29.4 x 24.2cm.)
€3,400–4,500
PROVENANCE: £4,000–6,000 $5,500–8,100
Private Collection, Texas €4,600–6,800 A similar painting of Ganga although slightly
Bonhams, London, 12 October 2006, 283 earlier is in the Rietberg Museum, Zurich and
attributed to Kangra circa 1800 (George Boner,
Eberhard Fischer, B.N. Goswamy, Sammlung
Alice Boner, Geschenk an das Museum Rietberg,
Zurich, 1994, cart.479, p.136).
151
152
A SEATED PORTRAIT OF A DOGRA PRINCE
Opaque pigments heightened with gold on paper, depicted facing
right, the Dogra Prince wears a yellow turban with black plume and
a white tunic, he holds a tulwar, in thick black rules, with pale pink
borders, the reverse with old reference numbers and notes in ink
and pencil
7Ω x 10ºin. (19 x 26cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
* 153
A KNEELING PORTRAIT OF A SIKH NOBLE MAN
KANGRA, PUNJAB HILLS, NORTH INDIA, EARLY 19TH
CENTURY
Opaque pigments on paper, depicted smoking a huqqa, dressed
in a white tunic, a falcon on his wrist, within thin white and blue
152 margins and white and red rules, with red-speckled pink borders
with yellow edges, the reverse with notes in blue ink and pencil
10¿ x 8ºin. (25.6 x 20.8cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800
154
THE EMPEROR AKBAR LISTENS TO A PETITIONER
MUGHAL DELHI, NORTH INDIA, CIRCA 1800
Opaque pigments on paper, the emperor sits against a bolster
cushion beneath a red canopy on a raised platform, a prince beside
him, a fy-whisk bearer behind, the petitioner with his hands raised,
a courtier leaning on his staf in the foreground, in foral margins,
within polychrome rules, with foral borders, mounted
15Ω x 10æin. (39.4 x 27.3cm.)
£3,000–5,000 $4,100–6,800
€3,400–5,700
153
154
155 156
A LARGE PORTRAIT OF HAMIDA BANU BEGUM A PRINCESS AT A JHAROKHA WINDOW
INDIA, EARLY 20TH CENTURY PROVINCIAL MUGHAL INDIA, MID-18TH CENTURY
Opaque pigments on paper, wearing an ornate headdress with a white plume, Opaque pigments heightened with gold on paper, depicted facing left, holding
pearl necklaces and a light blue tunic, holding the hilt of a tulwar, within a small wine cup in her right hand, bedecked with jewels, leaning against a
calligraphic margins in naskh script verging on nasta'liq, mounted, framed and gold bolster, within scrolling foral and blue gold-fecked margins, with wide
glazed foral lattice and gold-speckled burnt orange borders, the reverse with black
22Ω x 17ºin. (57.2 x 43.8cm.) visible Urdu numerals '48' to the top
Painting 4√ x 3¡in. (12.3 x 8.4cm.); folio 17¡ x 11√in. (44.3 x 30.2cm.)
£4,000–6,000 $5,500–8,100
€4,600–6,800 £3,000–5,000 $4,100–6,800
€3,400–5,700
INSCRIPTION:
In the upper cartouche: Shabih khas Hamida Banu Begum zawjat awwal Nasir
al-Din Muhammad Humayun Padshah, 'Personal likeness of Hamida Banu
Begum frst wife of Humayun'
In the cartouches around the sides and at the bottom: Details of her biography
including her lineage
As mentioned in the identifcation inscription above, this painting depicts

Hamida Banu Begum (c.1527-1604) who was a wife of the Mughal Emperor
Humayun and the mother of his successor, the Emperor Akbar.
157
FIFTEEN COMPANY SCHOOL WATERCOLOURS OF VIEWS OF
MONUMENTS OF INDIA
PROBABLY DELHI, INDIA, CIRCA 1815
Watercolour on paper, including views and details of the Tomb of Akbar, the Taj
Mahal, Fathepur Sikri, the Fort of Agra and its Mosque and the Tomb of Itimad
al-Dawla, each watercolour within thick black margins, some pages with the
watermark '[R]use & Turners 1815'
11Ω x 9in. (29.4 x 22.8cm.)
£10,000–15,000 $14,000–20,000
€12,000–17,000
The full list of watercolours included in this lot are as follows. Those within
inverted commas are transcribed directly from the inscriptions on the
watercolours:
The Tomb of Arjumand Banu [also known as Mumtaz Mahal]

‘The Inscription on the Tomb’ [probably that of Arjumand Banu]
The Taj taken from the river
The Pearl Mosque in the Fort of Agra
The Fort of Agra
‘The Tomb’
‘The Tomb in the Area on the Top of the Building ‘
The Tomb of Akbar
The Tomb of Saint Selim at Fathepur Sikri
The Gateway at Fathepur Sikri
The Tomb of Itamad al Dawla
Four unidentifed pietra dura patterns
END OF SALE
142
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before doing so. You will find a glossary at the end explaining the the original watch and may not be authentic. Clocks may be sold auction. We may record telephone bids. By bidding on the telephone,
meaning of the words and expressions coloured in bold. without pendulums, weights or keys. you are agreeing to us recording your conversations. You also agree
(b) As collectors’ watches and clocks often have very fine and that your telephone bids are governed by these Conditions of Sale.
Unless we own a lot (∆ symbol), Christie’s acts as agent for the seller. complex mechanisms, a general service, change of battery or further
repair work may be necessary, for which you are responsible. We do (b) Internet Bids on Christie’s Live™
A BEFORE THE SALE not give a warranty that any watch or clock is in good working order. For certain auctions we will accept bids over the Internet. Please visit
1 DESCRIPTION OF LOTS Certificates are not available unless described in the catalogue. www.christies.com/livebidding and click on the ‘Bid Live’ icon to
(a) Certain words used in the catalogue description have special (c) Most watches have been opened to find out the type and quality see details of how to watch, hear and bid at the auction from your
meanings. You can find details of these on the page headed of movement. For that reason, watches with water resistant cases computer. As well as these Conditions of Sale, internet bids are
‘Important Notices and Explanation of Cataloguing Practice’ which may not be waterproof and we recommend you have them checked governed by the Christie’s LIVE™ terms of use which are available
forms part of these terms. You can find a key to the Symbols found by a competent watchmaker before use. on www.christies.com.
next to certain catalogue entries under the section of the catalogue Important information about the sale, transport and shipping of
called ‘Symbols Used in this Catalogue’. watches and watchbands can be found in paragraph H2(g). (c) Written Bids
(b) Our description of any lot in the catalogue, any condition report You can find a Written Bid Form at the back of our catalogues, at any
and any other statement made by us (whether orally or in writing) B REGISTERING TO BID Christie’s office or by choosing the sale and viewing the lots online
about any lot, including about its nature or condition, artist, period, 1 NEW BIDDERS at www.christies.com. We must receive your completed Written
materials, approximate dimensions or provenance are our opinion (a) If this is your first time bidding at Christie’s or you are a returning Bid Form at least 24 hours before the auction. Bids must be placed
and not to be relied upon as a statement of fact. We do not carry out bidder who has not bought anything from any of our salerooms in the currency of the saleroom. The auctioneer will take reasonable
in-depth research of the sort carried out by professional historians within the last two years you must register at least 48 hours before steps to carry out written bids at the lowest possible price, taking
and scholars. All dimensions and weights are approximate only. an auction to give us enough time to process and approve your into account the reserve. If you make a written bid on a lot which
registration. We may, at our option, decline to permit you to register does not have a reserve and there is no higher bid than yours, we will
2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS as a bidder. You will be asked for the following: bid on your behalf at around 50% of the low estimate or, if lower, the
We do not provide any guarantee in relation to the nature of a lot (i) for individuals: Photo identification (driving licence, national amount of your bid. If we receive written bids on a lot for identical
apart from our authenticity warranty contained in paragraph E2 identity card or passport) and, if not shown on the ID document, amounts, and at the auction these are the highest bids on the lot,
and to the extent provided in paragraph I below. proof of your current address (for example, a current utility bill or we will sell the lot to the bidder whose written bid we received first.
bank statement).
3 CONDITION (ii) for corporate clients: Your Certificate of Incorporation or equivalent C AT THE SALE
(a) The condition of lots sold in our auctions can vary widely due to document(s) showing your name and registered address together 1 WHO CAN ENTER THE AUCTION
factors such as age, previous damage, restoration, repair and wear and with documentary proof of directors and beneficial owners; and We may, at our option, refuse admission to our premises or decline
tear. Their nature means that they will rarely be in perfect condition. (iii) for trusts, partnerships, offshore companies and other business to permit participation in any auction or to reject any bid.
Lots are sold ‘as is’, in the condition they are in at the time of the sale, structures, please contact us in advance to discuss our requirements.
without any representation or warranty or assumption of liability of any (b) We may also ask you to give us a financial reference and/or a 2 RESERVES
kind as to condition by Christie’s or by the seller. deposit as a condition of allowing you to bid. For help, please contact Unless otherwise indicated, all lots are subject to a reserve. We identify
(b) Any reference to condition in a catalogue entry or in a condition our Credit Department on +44 (0)20 7839 9060. lots that are offered without reserve with the symbol • next to the
report will not amount to a full description of condition, and images lot number. The reserve cannot be more than the lot’s low estimate.
may not show a lot clearly. Colours and shades may look different in 2 RETURNING BIDDERS
print or on screen to how they look on physical inspection. Condition We may at our option ask you for current identification as described 3 AUCTIONEER’S DISCRETION
reports may be available to help you evaluate the condition of a lot. in paragraph B1(a) above, a financial reference or a deposit as a The auctioneer can at his sole option:
Condition reports are provided free of charge as a convenience condition of allowing you to bid. If you have not bought anything (a) refuse any bid;
to our buyers and are for guidance only. They offer our opinion from any of our salerooms in the last two years or if you want to
but they may not refer to all faults, inherent defects, restoration, (b) move the bidding backwards or forwards in any way he or she
spend more than on previous occasions, please contact our Credit may decide, or change the order of the lots;
alteration or adaptation because our staff are not professional Department on +44 (0)20 7839 9060.
restorers or conservators. For that reason they are not an alternative (c) withdraw any lot;
to examining a lot in person or taking your own professional advice. (d) divide any lot or combine any two or more lots;
3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS
It is your responsibility to ensure that you have requested, received (e) reopen or continue the bidding even after the hammer has fallen;
and considered any condition report. If in our opinion you do not satisfy our bidder identification and and
registration procedures including, but not limited to completing any
(f) in the case of error or dispute and whether during or after the
anti-money laundering and/or anti-terrorism financing checks we
4 VIEWING LOTS PRE-AUCTION auction, to continue the bidding, determine the successful bidder,
may require to our satisfaction, we may refuse to register you to bid,
(a) If you are planning to bid on a lot, you should inspect it personally cancel the sale of the lot, or reoffer and resell any lot. If any dispute
and if you make a successful bid, we may cancel the contract for sale
or through a knowledgeable representative before you make a bid relating to bidding arises during or after the auction, the auctioneer’s
between you and the seller.
to make sure that you accept the description and its condition. decision in exercise of this option is final.
We recommend you get your own advice from a restorer or other
4 BIDDING ON BEHALF OF ANOTHER PERSON
professional adviser. 4 BIDDING
(a) As authorised bidder. If you are bidding on behalf of another
(b) Pre-auction viewings are open to the public free of charge. Our The auctioneer accepts bids from:
person, that person will need to complete the registration
specialists may be available to answer questions at pre-auction (a) bidders in the saleroom;
requirements above before you can bid, and supply a signed letter
viewings or by appointment. (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™
authorising you to bid for him/her.
(b) As agent for an undisclosed principal: If you are bidding as an (as shown above in Section B6); and
5 ESTIMATES agent for an undisclosed principal (the ultimate buyer(s)), you accept (c) written bids (also known as absentee bids or commission bids)
Estimates are based on the condition, rarity, quality and provenance personal liability to pay the purchase price and all other sums due. left with us by a bidder before the auction.
of the lots and on prices recently paid at auction for similar property. Further, you warrant that:
Estimates can change. Neither you, nor anyone else, may rely on any (i) you have conducted appropriate customer due diligence on 5 BIDDING ON BEHALF OF THE SELLER
estimates as a prediction or guarantee of the actual selling price of the ultimate buyer(s) of the lot(s) in accordance with any and all The auctioneer may, at his or her sole option, bid on behalf of the
a lot or its value for any other purpose. Estimates do not include the applicable anti-money laundering and sanctions laws, consent to us seller up to but not including the amount of the reserve either by
buyer’s premium or any applicable taxes. relying on this due diligence, and you will retain for a period of not making consecutive bids or by making bids in response to other
less than five years the documentation and records evidencing the bidders. The auctioneer will not identify these as bids made on
6 WITHDRAWAL due diligence; behalf of the seller and will not make any bid on behalf of the seller
Christie’s may, at its option, withdraw any lot at any time prior to (ii) you will make such documentation and records evidencing your at or above the reserve. If lots are offered without reserve, the
or during the sale of the lot. Christie’s has no liability to you for any due diligence promptly available for immediate inspection by an auctioneer will generally decide to open the bidding at 50% of the
decision to withdraw. independent third-party auditor upon our written request to do so. low estimate for the lot. If no bid is made at that level, the auctioneer
We will not disclose such documentation and records to any third- may decide to go backwards at his or her sole option until a bid is
7 JEWELLERY parties unless (1) it is already in the public domain, (2) it is required made, and then continue up from that amount. In the event that
(a) Coloured gemstones (such as rubies, sapphires and emeralds) to be disclosed by law, or (3) it is in accordance with anti-money there are no bids on a lot, the auctioneer may deem such lot unsold.
may have been treated to improve their look, through methods such laundering laws;
as heating and oiling. These methods are accepted by the inter- (iii) the arrangements between you and the ultimate buyer(s) are not 6 BID INCREMENTS
national jewellery trade but may make the gemstone less strong designed to facilitate tax crimes; Bidding generally starts below the low estimate and increases in
and/or require special care over time. (iv) you do not know, and have no reason to suspect, that the funds steps (bid increments). The auctioneer will decide at his or her sole
(b) All types of gemstones may have been improved by some used for settlement are connected with, the proceeds of any criminal option where the bidding should start and the bid increments. The
method. You may request a gemmological report for any item activity or that the ultimate buyer(s) are under investigation, charged usual bid increments are shown for guidance only on the Written Bid
which does not have a report if the request is made to us at least with or convicted of money laundering, terrorist activities or other Form at the back of this catalogue.
three weeks before the date of the auction and you pay the fee for money laundering predicate crimes.
the report. A bidder accepts personal liability to pay the purchase price and all 7 CURRENCY CONVERTER
(c) We do not obtain a gemmological report for every gemstone other sums due unless it has been agreed in writing with Christie’s The saleroom video screens (and Christies LIVETM) may show bids
sold in our auctions. Where we do get gemmological reports from before commencement of the auction that the bidder is acting as an in some other major currencies as well as sterling. Any conversion is
internationally accepted gemmological laboratories, such reports will agent on behalf of a named third party acceptable to Christie’s and for guidance only and we cannot be bound by any rate of exchange
be described in the catalogue. Reports from American gemmological that Christie’s will only seek payment from the named third party. used. Christie’s is not responsible for any error (human or otherwise),
laboratories will describe any improvement or treatment to the omission or breakdown in providing these services.
gemstone. Reports from European gemmological laboratories will 5 BIDDING IN PERSON
describe any improvement or treatment only if we request that If you wish to bid in the saleroom you must register for a numbered 8 SUCCESSFUL BIDS
they do so, but will confirm when no improvement or treatment has bidding paddle at least 30 minutes before the auction. You may Unless the auctioneer decides to use his or her discretion as set out in
been made. Because of differences in approach and technology, register online at www.christies.com or in person. For help, please paragraph C3 above, when the auctioneer’s hammer strikes, we have
laboratories may not agree whether a particular gemstone has been contact the Credit Department on +44 (0)20 7839 9060. accepted the last bid. This means a contract for sale has been formed
treated, the amount of treatment or whether treatment is permanent.
between the seller and the successful bidder. We will issue an invoice
The gemmological laboratories will only report on the improvements
6 BIDDING SERVICES only to the registered bidder who made the successful bid. While we send
or treatments known to the laboratories at the date of the report.
The bidding services described below are a free service offered as a out invoices by post and/or email after the auction, we do not accept
(d) For jewellery sales, estimates are based on the information in responsibility for telling you whether or not your bid was successful. If you
convenience to our clients and Christie’s is not responsible for any
any gemmological report or, if no report is available, assume that the have bid by written bid, you should contact us by telephone or in person as
error (human or otherwise), omission or breakdown in providing
gemstones may have been treated or enhanced. soon as possible after the auction to get details of the outcome of your bid
these services.
to avoid having to pay unnecessary storage charges.
143
9 LOCAL BIDDING LAWS the named artist but no warranty is provided that the lot is the work of to credit card payments are available from our Post-Sale Services
You agree that when bidding in any of our sales that you will strictly the named artist. Please read the full list of Qualified Headings and a Department, whose details are set out in paragraph (e) below.
comply with all local laws and regulations in force at the time of the lot’s full catalogue description before bidding. If you pay for your purchase using a credit card issued outside the
sale for the relevant sale site. (d) The authenticity warranty applies to the Heading as amended region of the sale, depending on the type of credit card and account
by any Saleroom Notice. you hold, the payment may incur a cross-border transaction fee. If you
D THE BUYER’S PREMIUM, TAXES AND ARTIST’S (e) The authenticity warranty does not apply where scholarship think this may apply to, you, please check with your credit card issuer
RESALE ROYALTY has developed since the auction leading to a change in generally before making the payment.
1 THE BUYER’S PREMIUM accepted opinion. Further, it does not apply if the Heading either Please note that for sales that permit online payment, certain
matched the generally accepted opinion of experts at the date of the transactions will be ineligible for credit card payment.
In addition to the hammer price, the successful bidder agrees to
sale or drew attention to any conflict of opinion. (iii) Cash
pay us a buyer’s premium on the hammer price of each lot sold.
On all lots we charge 25% of the hammer price up to and including (f) The authenticity warranty does not apply if the lot can only be We accept cash subject to a maximum of £5,000 per buyer per year
£175,000, 20% on that part of the hammer price over £175,000 shown not to be authentic by a scientific process which, on the date at our Cashier’s Department Department only (subject to conditions).
and up to and including £3,000,000, and 12.5% of that part of the we published the catalogue, was not available or generally accepted (iv) Banker’s draft
hammer price above £3,000,000. for use, or which was unreasonably expensive or impractical, or You must make these payable to Christie’s and there may be
which was likely to have damaged the lot. conditions.
(g) The benefit of the authenticity warranty is only available to the (v) Cheque
2 TAXES
original buyer shown on the invoice for the lot issued at the time of
The successful bidder is responsible for any applicable tax including You must make cheques payable to Christie’s. Cheques must be
the sale and only if, on the date of the notice of claim, the original
any VAT, sales or compensating use tax or equivalent tax wherever from accounts in pounds sterling from a United Kingdom bank.
buyer is the full owner of the lot and the lot is free from any claim,
such taxes may arise on the hammer price and the buyer’s premium. interest or restriction by anyone else. The benefit of this authenticity (d) You must quote the sale number, lot number(s), your invoice
It is the buyer’s responsibility to ascertain and pay all taxes due. You warranty may not be transferred to anyone else. number and Christie’s client account number when making a
can find details of how VAT and VAT reclaims are dealt with on the payment. All payments sent by post must be sent to: Christie’s,
(h) In order to claim under the authenticity warranty, you must:
section of the catalogue headed ‘VAT Symbols and Explanation’. VAT Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT.
charges and refunds depend on the particular circumstances of the (i) give us written notice of your claim within five years of the date
(e) For more information please contact our Post-Sale Service
buyer so this section, which is not exhaustive, should be used only as a of the auction. We may require full details and supporting evidence
Department by phone on +44 (0)20 7752 3200 or fax on +44 (0)20
general guide. In all circumstances EU and UK law takes precedence. of any such claim;
752 3300.
If you have any questions about VAT, please contact Christie’s VAT (ii) at Christie’s option, we may require you to provide the written
Department on +44 (0)20 7389 9060 (email: VAT_London@christies. opinions of two recognised experts in the field of the lot mutually
agreed by you and us in advance confirming that the lot is not 2. TRANSFERRING OWNERSHIP TO YOU
com, fax: +44 (0)20 3219 6076). Christie’s recommends you obtain
authentic. If we have any doubts, we reserve the right to obtain You will not own the lot and ownership of the lot will not pass to you
your own independent tax advice.
additional opinions at our expense; and until we have received full and clear payment of the purchase price,
For lots Christie’s ships to the United States, a state sales or use tax even in circumstances where we have released the lot to the buyer.
may be due on the hammer price, buyer’s premium and shipping (iii) return the lot at your expense to the saleroom from which you
costs on the lot, regardless of the nationality or citizenship of the bought it in the condition it was in at the time of sale.
(i) Your only right under this authenticity warranty is to cancel the 3 TRANSFERRING RISK TO YOU
purchaser. Christie’s is currently required to collect sales tax for lots
it ships to the state of New York. The applicable sales tax rate will be sale and receive a refund of the purchase price paid by you to us. The risk in and responsibility for the lot will transfer to you from
determined based upon the state, county, or locale to which the lot We will not, in any circumstances, be required to pay you more than whichever is the earlier of the following:
will be shipped. Successful bidders claiming an exemption from sales the purchase price nor will we be liable for any loss of profits or (a) When you collect the lot; or
tax must provide appropriate documentation to Christie’s prior to the business, loss of opportunity or value, expected savings or interest, (b) At the end of the 30th day following the date of the auction or, if
release of the lot. For shipments to those states for which Christie’s is costs, damages, other damages or expenses. earlier, the date the lot is taken into care by a third party warehouse
not required to collect sales tax, a successful bidder may be required to (j) Books. Where the lot is a book, we give an additional warranty as set out on the page headed ‘Storage and Collection’, unless we
remit use tax to that state’s taxing authorities. Christie’s recommends for 14 days from the date of the sale that if on collation any lot is have agreed otherwise with you in writing.
you obtain your own independent tax advice with further questions. defective in text or illustration, we will refund your purchase price,
subject to the following terms: 4 WHAT HAPPENS IF YOU DO NOT PAY
3 ARTIST’S RESALE ROYALTY (a) This additional warranty does not apply to: (a) If you fail to pay us the purchase price in full by the due date, we
In certain countries, local laws entitle the artist or the artist’s estate (i) the absence of blanks, half titles, tissue guards or advertisements, will be entitled to do one or more of the following (as well as enforce
to a royalty known as ‘artist’s resale right’ when any lot created by damage in respect of bindings, stains, spotting, marginal tears or other our rights under paragraph F5 and any other rights or remedies we
the artist is sold. We identify these lots with the symbol λ next to defects not affecting completeness of the text or illustration; have by law):
the lot number. If these laws apply to a lot, you must pay us an (ii) drawings, autographs, letters or manuscripts, signed photographs, (i) to charge interest from the due date at a rate of 5% a year above the
extra amount equal to the royalty. We will pay the royalty to the music, atlases, maps or periodicals; UK Lloyds Bank base rate from time to time on the unpaid amount due;
appropriate authority on the seller’s behalf. (iii) books not identified by title; (ii) we can cancel the sale of the lot. If we do this, we may sell
The artist’s resale royalty applies if the hammer price of the lot is (iv) lots sold without a printed estimate; the lot again, publicly or privately on such terms we shall think
1,000 euro or more. The total royalty for any lot cannot be more than (v) books which are described in the catalogue as sold not subject necessary or appropriate, in which case you must pay us any
12,500 euro. We work out the amount owed as follows: to return; or shortfall between the purchase price and the proceeds from the
Royalty for the portion of the hammer price (vi) defects stated in any condition report or announced at the resale. You must also pay all costs, expenses, losses, damages and
(in euros) time of sale. legal fees we have to pay or may suffer and any shortfall in the
4% up to 50,000 seller’s commission on the resale;
(b) To make a claim under this paragraph you must give written
3% between 50,000.01 and 200,000 details of the defect and return the lot to the sale room at which you (iii) we can pay the seller an amount up to the net proceeds payable
1% between 200,000.01 and 350,000 bought it in the same condition as at the time of sale, within 14 days in respect of the amount bid by your default in which case you
of the date of the sale. acknowledge and understand that Christie’s will have all of the
0.50% between 350,000.01 and 500,000
rights of the seller to pursue you for such amounts;
over 500,000, the lower of 0.25% and 12,500 euro. (k) South East Asian Modern and Contemporary Art and Chinese
Calligraphy and Painting. (iv) we can hold you legally responsible for the purchase price and
We will work out the artist’s resale royalty using the euro to sterling rate may begin legal proceedings to recover it together with other losses,
of exchange of the European Central Bank on the day of the auction. In these categories, the authenticity warranty does not apply
interest, legal fees and costs as far as we are allowed by law;
because current scholarship does not permit the making of definitive
statements. Christie’s does, however, agree to cancel a sale in either (v) we can take what you owe us from any amounts which we or
E WARRANTIES any company in the Christie’s Group may owe you (including any
of these two categories of art where it has been proven the lot is a
1 SELLER’S WARRANTIES forgery. Christie’s will refund to the original buyer the purchase price deposit or other part-payment which you have paid to us);
For each lot, the seller gives a warranty that the seller: in accordance with the terms of Christie’s authenticity warranty, (vi) we can, at our option, reveal your identity and contact details to
(a) is the owner of the lot or a joint owner of the lot acting with the provided that the original buyer notifies us with full supporting evidence the seller;
permission of the other co-owners or, if the seller is not the owner or documenting the forgery claim within twelve (12) months of the date of (vii) we can reject at any future auction any bids made by or on
a joint owner of the lot, has the permission of the owner to sell the the auction. Such evidence must be satisfactory to us that the lot is a behalf of the buyer or to obtain a deposit from the buyer before
lot, or the right to do so in law; and forgery in accordance with paragraph E2(h)(ii) above and the lot must accepting any bids;
(b) has the right to transfer ownership of the lot to the buyer without be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (viii) to exercise all the rights and remedies of a person holding
any restrictions or claims by anyone else. (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories. security over any property in our possession owned by you,
If either of the above warranties are incorrect, the seller shall not whether by way of pledge, security interest or in any other way
have to pay more than the purchase price (as defined in paragraph F PAYMENT as permitted by the law of the place where such property is
F1(a) below) paid by you to us. The seller will not be responsible to located. You will be deemed to have granted such security to us
1 HOW TO PAY
you for any reason for loss of profits or business, expected savings, and we may retain such property as collateral security for your
(a) Immediately following the auction, you must pay the purchase obligations to us; and
loss of opportunity or interest, costs, damages, other damages or
price being:
expenses. The seller gives no warranty in relation to any lot other (ix) we can take any other action we see necessary or appropriate.
than as set out above and, as far as the seller is allowed by law, all (i) the hammer price; and
(b) If you owe money to us or to another Christie’s Group company,
warranties from the seller to you, and all other obligations upon the (ii) the buyer’s premium; and we can use any amount you do pay, including any deposit or other
seller which may be added to this agreement by law, are excluded. (iii) any amounts due under section D3 above; and part-payment you have made to us, or which we owe you, to pay off
(iv) any duties, goods, sales, use, compensating or service tax or VAT. any amount you owe to us or another Christie’s Group company for
2 OUR AUTHENTICITY WARRANTY Payment is due no later than by the end of the seventh calendar day any transaction.
We warrant, subject to the terms below, that the lots in our sales following the date of the auction (the ‘due date’). (c) If you make payment in full after the due date, and we choose
are authentic (our ‘authenticity warranty’). If, within five years of (b) We will only accept payment from the registered bidder. Once to accept such payment we may charge you storage and transport
the date of the auction, you give notice to us that your lot is not issued, we cannot change the buyer’s name on an invoice or re-issue costs from the date that is 30 calendar days following the auction
authentic, subject to the terms below, we will refund the purchase the invoice in a different name. You must pay immediately even if in accordance with paragraphs Gd(i) and (ii). In such circumstances
price paid by you. The meaning of authentic can be found in the you want to export the lot and you need an export licence. paragraph Gd(iv) shall apply.
glossary at the end of these Conditions of Sale. The terms of the (c) You must pay for lots bought at Christie’s in the United Kingdom
authenticity warranty are as follows: in the currency stated on the invoice in one of the following ways: 5 KEEPING YOUR PROPERTY
(a) It will be honoured for claims notified within a period of five years (i) Wire transfer If you owe money to us or to another Christie’s Group company,
from the date of the auction. After such time, we will not be obligated You must make payments to: as well as the rights set out in F4 above, we can use or deal
to honour the authenticity warranty. Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London with any of your property we hold or which is held by another
(b) It is given only for information shown in UPPERCASE type in the EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift Christie’s Group company in any way we are allowed to by law.
first line of the catalogue description (the ‘Heading’). It does not code: LOYDGB2LCTY. IBAN (international bank account number): We will only release your property to you after you pay us or the
apply to any information other than in the Heading even if shown GB81 LOYD 3000 0200 1727 10. relevant Christie’s Group company in full for what you owe.
in UPPERCASE type. (ii) Credit Card. However, if we choose, we can also sell your property in any
(c) The authenticity warranty does not apply to any Heading or part of We accept most major credit cards subject to certain conditions. You way we think appropriate. We will use the proceeds of the sale
a Heading which is qualified. Qualified means limited by a clarification may make payment via credit card in person. You may also make a against any amounts you owe us and we will pay any amount left
in a lot’s catalogue description or by the use in a Heading of one of the ‘cardholder not present’ (CNP) payment by calling Christie’s Post-Sale from that sale to you. If there is a shortfall, you must pay us any
terms listed in the section titled Qualified Headings on the page of the Services Department on +44 (0)20 7752 3200 or for some sales, by difference between the amount we have received from the sale
catalogue headed ‘Important Notices and Explanation of Cataloguing logging into your MyChristie’s account by going to: www.christies. and the amount you owe us.
Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a com/mychristies. Details of the conditions and restrictions applicable
Heading means that the lot is in Christie’s opinion probably a work by
144
G COLLECTION AND STORAGE (d) Lots of Iranian origin 5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
(a) We ask that you collect purchased lots promptly following the Some countries prohibit or restrict the purchase and/or import of You may not grant a security over or transfer your rights or
auction (but note that you may not collect any lot until you have Iranian-origin ‘works of conventional craftsmanship’ (works that are responsibilities under these terms on the contract of sale with the
made full and clear payment of all amounts due to us). not by a recognised artist and/or that have a function, for example: buyer unless we have given our written permission. This agreement
(b) Information on collecting lots is set out on the storage and collection bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits will be binding on your successors or estate and anyone who takes
page and on an information sheet which you can get from the bidder the import of this type of property and its purchase by US persons over your rights and responsibilities.
registration staff or Christie’s Post-Sale Services Department on +44 (wherever located). Other countries, such as Canada, only permit the
(0)20 7752 3200. import of this property in certain circumstances. As a convenience to 6 TRANSLATIONS
(c) If you do not collect any lot promptly following the auction we buyers, Christie’s indicates under the title of a lot if the lot originates If we have provided a translation of this agreement, we will use this
can, at our option, remove the lot to another Christie’s location or an from Iran (Persia). It is your responsibility to ensure you do not bid on original version in deciding any issues or disputes which arise under
affiliate or third party warehouse. or import a lot in contravention of the sanctions or trade embargoes this agreement.
that apply to you.
(d) If you do not collect a lot by the end of the 30th day following the
date of the auction, unless otherwise agreed in writing: (e) Gold
7 PERSONAL INFORMATION
(i) we will charge you storage costs from that date. Gold of less than 18ct does not qualify in all countries as ‘gold’ and
We will hold and process your personal information and may pass
may be refused import into those countries as ‘gold’.
(ii) we can at our option move the lot to or within an affiliate or third it to another Christie’s Group company for use as described in, and
party warehouse and charge you transport costs and administration (f) Jewellery over 50 years old in line with, our privacy notice at www.christies.com/about-us/
fees for doing so. Under current laws, jewellery over 50 years old which is worth contact/privacy.
(iii) we may sell the lot in any commercially reasonable way we £39,219 or more will require an export licence which we can apply
think appropriate. for on your behalf. It may take up to eight weeks to obtain the export
8 WAIVER
jewellery licence.
(iv) the storage terms which can be found at christies.com/storage No failure or delay to exercise any right or remedy provided under
shall apply. (g) Watches
these Conditions of Sale shall constitute a waiver of that or any other
(v) Nothing in this paragraph is intended to limit our rights under Many of the watches offered for sale in this catalogue are pictured right or remedy, nor shall it prevent or restrict the further exercise of
paragraph F4. with straps made of endangered or protected animal materials such that or any other right or remedy. No single or partial exercise of such
as alligator or crocodile. These lots are marked with the symbol ψ in right or remedy shall prevent or restrict the further exercise of that or
the catalogue. These endangered species straps are shown for display any other right or remedy.
H TRANSPORT AND SHIPPING purposes only and are not for sale. Christie’s will remove and retain the
1 TRANSPORT AND SHIPPING strap prior to shipment from the sale site. At some sale sites, Christie’s
We will enclose a transport and shipping form with each invoice sent may, at its discretion, make the displayed endangered species strap 9 LAW AND DISPUTES
to you. You must make all transport and shipping arrangements. available to the buyer of the lot free of charge if collected in person from This agreement, and any non-contractual obligations arising out of
However, we can arrange to pack, transport and ship your property the sale site within one year of the date of the sale. Please check with or in connection with this agreement, or any other rights you may
if you ask us to and pay the costs of doing so. We recommend that the department for details on a particular lot. have relating to the purchase of a lot will be governed by the laws
you ask us for an estimate, especially for any large items or items For all symbols and other markings referred to in paragraph H2, of England and Wales. Before we or you start any court proceedings
of high value that need professional packing before you bid. We please note that lots are marked as a convenience to you, but we do (except in the limited circumstances where the dispute, controversy
may also suggest other handlers, packers, transporters or experts if not accept liability for errors or for failing to mark lots. or claim is related to proceedings brought by someone else and this
you ask us to do so. For more information, please contact Christie’s dispute could be joined to those proceedings), we agree we will each
Art Transport on +44 (0)20 7839 9060. See the information set try to settle the dispute by mediation following the Centre for Effective
I OUR LIABILITY TO YOU Dispute Resolution (CEDR) Model Mediation Procedure. We will use a
out at www.christies.com/shipping or contact us at arttransport_
london@christies.com. We will take reasonable care when we are (a) We give no warranty in relation to any statement made, or mediator affiliated with CEDR who we and you agree to. If the dispute
handling, packing, transporting and shipping a lot. However, if we information given, by us or our representatives or employees, about is not settled by mediation, you agree for our benefit that the dispute
recommend another company for any of these purposes, we are not any lot other than as set out in the authenticity warranty and, as will be referred to and dealt with exclusively in the courts of England
responsible for their acts, failure to act or neglect. far as we are allowed by law, all warranties and other terms which and Wales. However, we will have the right to bring proceedings
may be added to this agreement by law are excluded. The seller’s against you in any other court.
warranties contained in paragraph E1 are their own and we do not
2 EXPORT AND IMPORT
have any liability to you in relation to those warranties. 10 REPORTING ON WWW.CHRISTIES.COM
Any lot sold at auction may be affected by laws on exports from
(b) (i) We are not responsible to you for any reason (whether for Details of all lots sold by us, including catalogue descriptions
the country in which it is sold and the import restrictions of other
breaking this agreement or any other matter relating to your and prices, may be reported on www.christies.com. Sales totals
countries. Many countries require a declaration of export for property
purchase of, or bid for, any lot) other than in the event of fraud or are hammer price plus buyer’s premium and do not reflect costs,
leaving the country and/or an import declaration on entry of property
fraudulent misrepresentation by us or other than as expressly set out financing fees, or application of buyer’s or seller’s credits. We regret
into the country. Local laws may prevent you from importing a lot or
in these Conditions of Sale; or that we cannot agree to requests to remove these details from www.
may prevent you selling a lot in the country you import it into. We
will not be obliged to cancel your purchase and refund the purchase (ii) We do not give any representation, warranty or guarantee or christies.com.
price if your lot may not be exported, imported or it is seized for assume any liability of any kind in respect of any lot with regard
any reason by a government authority. It is your responsibility to to merchantability, fitness for a particular purpose, description,
K GLOSSARY
determine and satisfy the requirements of any applicable laws or size, quality, condition, attribution, authenticity, rarity, importance,
medium, provenance, exhibition history, literature, or historical authentic: a genuine example, rather than a copy or forgery of:
regulations relating to the export or import of any lot you purchase.
relevance. Except as required by local law, any warranty of any kind (i) the work of a particular artist, author or manufacturer, if the
(a) You alone are responsible for getting advice about and meeting lot is described in the Heading as the work of that artist, author or
is excluded by this paragraph.
the requirements of any laws or regulations which apply to manufacturer;
exporting or importing any lot prior to bidding. If you are refused (c) In particular, please be aware that our written and telephone
bidding services, Christie’s LIVE™, condition reports, currency (ii) a work created within a particular period or culture, if the lot is
a licence or there is a delay in getting one, you must still pay
converter and saleroom video screens are free services and we are described in the Heading as a work created during that period or
us in full for the lot. We may be able to help you apply for the
not responsible to you for any error (human or otherwise), omission culture;
appropriate licences if you ask us to and pay our fee for doing so.
However, we cannot guarantee that you will get one. or breakdown in these services. (iii) a work for a particular origin source if the lot is described in the
(d) We have no responsibility to any person other than a buyer in Heading as being of that origin or source; or
For more information, please contact Christie’s Art Transport
Department on +44 (0)20 7839 9060. See the information set out connection with the purchase of any lot. (iv) in the case of gems, a work which is made of a particular
at www.christies.com/shipping or contact us at arttransport_ (e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we material, if the lot is described in the Heading as being made of
london@christies.com. are found to be liable to you for any reason, we shall not have to that material.
(b) Lots made of protected species pay more than the purchase price paid by you to us. We will not be authenticity warranty: the guarantee we give in this agreement that
responsible to you for any reason for loss of profits or business, loss a lot is authentic as set out in section E2 of this agreement.
Lots made of or including (regardless of the percentage) endangered
of opportunity or value, expected savings or interest, costs, damages, buyer’s premium: the charge the buyer pays us along with the
and other protected species of wildlife are marked with the symbol
or expenses. hammer price.
~ in the catalogue. This material includes, among other things, ivory,
tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain catalogue description: the description of a lot in the catalogue for
species of coral, and Brazilian rosewood. You should check the J OTHER TERMS the auction, as amended by any saleroom notice.
relevant customs laws and regulations before bidding on any lot 1 OUR ABILITY TO CANCEL Christie’s Group: Christie’s International Plc, its subsidiaries and
containing wildlife material if you plan to import the lot into another In addition to the other rights of cancellation contained in this other companies within its corporate group.
country. Several countries refuse to allow you to import property agreement, we can cancel a sale of a lot if we reasonably believe condition: the physical condition of a lot.
containing these materials, and some other countries require a that completing the transaction is, or may be, unlawful or that the due date: has the meaning given to it in paragraph F1(a).
licence from the relevant regulatory agencies in the countries of sale places us or the seller under any liability to anyone else or may estimate: the price range included in the catalogue or any saleroom
exportation as well as importation. In some cases, the lot can only damage our reputation. notice within which we believe a lot may sell. Low estimate means
be shipped with an independent scientific confirmation of species the lower figure in the range and high estimate means the higher
and/or age and you will need to obtain these at your own cost. If a 2 RECORDINGS figure. The mid estimate is the midpoint between the two.
lot contains elephant ivory, or any other wildlife material that could We may videotape and record proceedings at any auction. We will hammer price: the amount of the highest bid the auctioneer accepts
be confused with elephant ivory (for example, mammoth ivory, keep any personal information confidential, except to the extent for the sale of a lot.
walrus ivory, helmeted hornbill ivory), please see further important disclosure is required by law. However, we may, through this process, Heading: has the meaning given to it in paragraph E2.
information in paragraph (c) if you are proposing to import the lot use or share these recordings with another Christie’s Group company
into the USA. We will not be obliged to cancel your purchase and lot: an item to be offered at auction (or two or more items to be
and marketing partners to analyse our customers and to help us to offered at auction as a group).
refund the purchase price if your lot may not be exported, imported tailor our services for buyers. If you do not want to be videotaped, you
or it is seized for any reason by a government authority. It is your other damages: any special, consequential, incidental or indirect
may make arrangements to make a telephone or written bid or bid on damages of any kind or any damages which fall within the meaning
responsibility to determine and satisfy the requirements of any Christie’s LIVE™ instead. Unless we agree otherwise in writing, you
applicable laws or regulations relating to the export or import of of ‘special’, ‘incidental’ or ‘consequential’ under local law.
may not videotape or record proceedings at any auction. purchase price: has the meaning given to it in paragraph F1(a).
property containing such protected or regulated material.
(c) US import ban on African elephant ivory provenance: the ownership history of a lot.
3 COPYRIGHT qualified: has the meaning given to it in paragraph E2 and Qualified
The USA prohibits the import of ivory from the African elephant.
We own the copyright in all images, illustrations and written material Headings means the section headed Qualified Headings on the
Any lot containing elephant ivory or other wildlife material
produced by or for us relating to a lot (including the contents of our page of the catalogue headed ‘Important Notices and Explanation
that could be easily confused with elephant ivory (for example,
catalogues unless otherwise noted in the catalogue). You cannot of Cataloguing Practice’.
mammoth ivory, walrus ivory, helmeted hornbill ivory) can only
use them without our prior written permission. We do not offer any reserve: the confidential amount below which we will not sell a lot.
be imported into the US with results of a rigorous scientific test
guarantee that you will gain any copyright or other reproduction
acceptable to Fish & Wildlife, which confirms that the material is saleroom notice: a written notice posted next to the lot in the
rights to the lot.
not African elephant ivory. Where we have conducted such rigorous saleroom and on www.christies.com, which is also read to prospective
scientific testing on a lot prior to sale, we will make this clear in the telephone bidders and notified to clients who have left commission
lot description. In all other cases, we cannot confirm whether a lot 4 ENFORCING THIS AGREEMENT bids, or an announcement made by the auctioneer either at the
contains African elephant ivory, and you will buy that lot at your If a court finds that any part of this agreement is not valid or is illegal beginning of the sale, or before a particular lot is auctioned.
own risk and be responsible for any scientific test or other reports or impossible to enforce, that part of the agreement will be treated UPPER CASE type: means having all capital letters.
required for import into the USA at your own cost. If such scientific as being deleted and the rest of this agreement will not be affected. warranty: a statement or representation in which the person making
test is inconclusive or confirms the material is from the African it guarantees that the facts set out in it are correct.
elephant, we will not be obliged to cancel your purchase and refund
the purchase price.
08/05/18 145
VAT SYMBOLS AND EXPLANATION
You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of the catalogue headed ÔConditions of Sale’ VAT payable
Symbol
No We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
Symbol VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
† We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice.
θ For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
* Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Ω Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
α • If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
• If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see † symbol above)
For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
‡ If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the
Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.
VAT refunds: what can I reclaim?

If you are:
A non VAT registered

No VAT refund is possible
UK or EU buyer
The VAT amount in the buyer’s premium cannot be refunded.

UK VAT registered No symbol
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had
buyer and α
been sold with a † symbol). Subject to HMRC’s rules, you can then reclaim the VAT charged through your own VAT return.
Subject to HMRC’s rules, you can reclaim the Import VAT charged on the hammer price through your own VAT return when you are
in receipt of a C79 form issued by HMRC. The VAT amount in the buyer’s premium is invoiced under Margin Scheme rules so cannot
and Ω
* normally be claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under standard VAT rules (as if the
lot had been sold with a † symbol) then, subject to HMRC’s rules, you can reclaim the VAT charged through your own VAT return.
The VAT amount in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin
EU VAT registered No Symbol
Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol).
buyer and α
See below for the rules that would then apply.
If you provide us with your EU VAT number we will not charge VAT on the buyer’s premium. We will also refund the VAT on the
† hammer price if you ship the lot from the UK and provide us with proof of shipping, within three months of collection.
The VAT amount on the hammer and in the buyer’s premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules
* and Ω (as if the lot had been sold with a † symbol).
See above for the rules that would then apply.
Non EU buyer If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
No Symbol We will refund the VAT amount in the buyer’s premium.
We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business.
† and α The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside
the EU using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business.
‡ (wine only) The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.
* and Ω
We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium.
1. We CANNOT offer 3. In order to receive 4. Details of the 5. If you appoint 6. If you ask us to 7. All reinvoicing
refunds of VAT amounts a refund of VAT documents which you Christie’s Art Transport re-invoice you under requests must be received
or Import VAT to buyers amounts/Import VAT (as must provide to us to or one of our authorised normal UK VAT rules (as within four years from the
who do not meet all applicable) non-EU buyers show satisfactory proof shippers to arrange your if the lot had been sold date of sale.
applicable conditions must: of export/shipping are export/shipping we with a † symbol) instead If you have any questions
in full. If you are unsure (a) have registered to bid available from our VAT will issue you with an of under the Margin about VAT refunds
whether you will be with an address outside team at the address below. export invoice with the Scheme the lot may please contact Christie’s
entitled to a refund, of the EU; and We charge a processing applicable VAT or duties become ineligible to be Client Services on info@
please contact Client (b) provide immediate fee of £35.00 per invoice cancelled as outlined resold using the Margin christies.com
Services at the address proof of correct export to check shipping/export above. If you later cancel Schemes. Movement Tel: +44 (0)20 7389 2886.
below before you bid. out of the EU within the documents. We will waive or change the shipment within the EU must be Fax: +44 (0)20 7839 1611.
2. No VAT amounts required time frames of: this processing fee if you in a manner that infringes within 3 months from
or Import VAT will be 30 days via a ‘controlled appoint Christie’s Shipping the rules outlined above the date of sale. You
refunded where the total export’ for * and Ω lots. Department to arrange we will issue a revised should take professional
refund is under £100. All other lots must be your export/shipping. invoice charging you all advice if you are unsure
exported within three applicable taxes/charges. how this may affect you.
months of collection.
146
SYMBOLS USED IN THIS CATALOGUE
The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’.
º λ ψ
Christie’s has a direct financial interest Artist’s Resale Right. See Section D3 of Lot incorporates material from
in the lot. See Important Notices and the Conditions of Sale. endangered species which is shown for
Explanation of Cataloguing Practice. display purposes only and is not for sale.
• See Section H2(g) of the Conditions of Sale.
∆ Lot offered without reserve which will be
Owned by Christie’s or another Christie’s sold to the highest bidder regardless of the ?, *, Ω, α, #, ‡
Group company in whole or part. See pre-sale estimate in the catalogue. See VAT Symbols and Explanation.
Important Notices and Explanation of
~
Cataloguing Practice.
Lot incorporates material from ■
♦ endangered species which could result See Storage and Collection Page.
Christie’s has a direct financial interest in in export restrictions. See Section H2(b) of
the lot and has funded all or part of our the Conditions of Sale.
interest with the help of someone else.
See Important Notices and Explanation of
Cataloguing Practice.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
IMPORTANT NOTICES
CHRISTIE’S INTEREST IN PROPERTY Other Arrangements

CONSIGNED FOR AUCTION Christie’s may enter into other arrangements not involving
∆ Property Owned in part or in full by Christie’s bids. These include arrangements where Christie’s has
From time to time, Christie’s may offer a lot which it given the Seller an Advance on the proceeds of sale of the
owns in whole or in part. Such property is identified in the lot or where Christie’s has shared the risk of a guarantee
catalogue with the symbol ∆ next to its lot number. with a partner without the partner being required to place
an irrevocable written bid or otherwise participating in
º Minimum Price Guarantees the bidding on the lot. Because such arrangements are
On occasion, Christie’s has a direct financial interest in unrelated to the bidding process they are not marked with
the outcome of the sale of certain lots consigned for sale. a symbol in the catalogue.
This will usually be where it has guaranteed to the Seller
that whatever the outcome of the auction, the Seller will Bidding by parties with an interest
receive a minimum sale price for the work. This is known In any case where a party has a financial interest in a
as a minimum price guarantee. Where Christie’s holds lot and intends to bid on it we will make a saleroom
such financial interest we identify such lots with the announcement to ensure that all bidders are aware
symbol º next to the lot number. of this. Such financial interests can include where
beneficiaries of an Estate have reserved the right to bid on
º♦ Third Party Guarantees/Irrevocable bids a lot consigned by the Estate or where a partner in a risk-
Where Christie’s has provided a Minimum Price Guarantee sharing arrangement has reserved the right to bid on a lot
it is at risk of making a loss, which can be significant, if the and/or notified us of their intention to bid.
lot fails to sell. Christie’s therefore sometimes chooses to
share that risk with a third party. In such cases the third Please see http://www.christies.com/ financial-interest/ for
party agrees prior to the auction to place an irrevocable a more detailed explanation of minimum price guarantees
written bid on the lot. The third party is therefore and third party financing arrangements.
committed to bidding on the lot and, even if there are no
other bids, buying the lot at the level of the written bid
unless there are any higher bids. In doing so, the third party Where Christie’s has an ownership or financial interest in
takes on all or part of the risk of the lot not being sold. If every lot in the catalogue, Christie’s will not designate each
the lot is not sold, the third party may incur a loss. Lots lot with a symbol, but will state its interest in the front of
which are subject to a third party guarantee arrangement the catalogue.
are identified in the catalogue with the symbol º♦.
POST 1950 FURNITURE
In most cases, Christie’s compensates the third party in
exchange for accepting this risk. Where the third party All items of post-1950 furniture included in this sale
is the successful bidder, the third party’s remuneration are items either not originally supplied for use in a
is based on a fixed financing fee. If the third party is not private home or now offered solely as works of art.
the successful bidder, the remuneration may either be These items may not comply with the provisions of the
based on a fixed fee or an amount calculated against the Furniture and Furnishings (Fire) (Safety) Regulations
final hammer price. The third party may also bid for the 1988 (as amended in 1989 and 1993, the ‘Regulations’).
lot above the written bid. Where the third party is the Accordingly, these items should not be used as furniture
successful bidder, Christie’s will report the final purchase in your home in their current condition. If you do intend
price net of the fixed financing fee. to use such items for this purpose, you must first ensure
that they are reupholstered, restuffed and/or recovered
Third party guarantors are required by us to disclose to (as appropriate) in order that they comply with the
anyone they are advising their financial interest in any lots provisions of the Regulations.
they are guaranteeing. However, for the avoidance of any
doubt, if you are advised by or bidding through an agent on a
lot identified as being subject to a third party guarantee you
should always ask your agent to confirm whether or not he or
she has a financial interest in relation to the lot.
28/04/17
147
STORAGE AND COLLECTION
COLLECTION LOCATION AND TERMS If the lot remains at Christie’s it will be available for SHIPPING AND DELIVERY
Specifed lots (sold and unsold) marked with a flled collection on any working day 9.00am to 5.00pm. Lots Christie’s Post-Sale Service can organise local
square ( ■ ) not collected from Christie’s by 5.00pm are not available for collection at weekends. deliveries or international freight. Please contact
on the day of the sale will, at our option, be removed them on +44 (0)20 7752 3200 or PostSaleUK@
to Christie’s Park Royal. Christie’s will inform you if PAYMENT OF ANY CHARGES DUE christies.com. To ensure that arrangements for
the lot has been sent ofsite. Our removal and storage ALL lots whether sold or unsold will be subject the transport of your lot can be fnalised before the
of the lot is subject to the terms and conditions of to storage and administration fees.Please see the expiry of any free storage period, please contact
storage which can be found at Christies.com/storage details in the table below. Storage Charges may be Christie’s Post-Sale Service for a quote as soon as
and our fees for storage are set out in the table paid in advance or at the time of collection. Lots may possible after the sale.
below - these will apply whether the lot remains with only be released on production of the ‘Collection
Christie’s or is removed elsewhere. Form’ from Christie’s. Lots will not be released until PHYSICAL LOSS & DAMAGE LIABILITY
If the lot is transferred to Christie’s Park Royal, it will all outstanding charges are settled. Christie’s will accept liability for physical loss
be available for collection from 12 noon on the second and damage to sold lots whilst in storage. Christie’s
business day following the sale. liability will be limited to the invoice purchase price
Please call Christie’s Client Service 24 hours in including buyers’ premium. Christie’s liability will
advance to book a collection time at Christie’s Park continue until the lots are collected by you or an agent
Royal. All collections from Christie’s Park Royal will acting for you following payment in full. Christie’s
be by pre-booked appointment only. liability is subject to Christie’s Terms and Conditions
Tel: +44 (0)20 7839 9060 of Liability posted on www.christies.com.
Email: cscollectionsuk@christies.com.
ADMINISTRATION FEE, STORAGE & RELATED CHARGES CHRISTIE’S PARK ROYAL

Unit 7, Central Park
CHARGES PER LOT LARGE OBJECTS SMALL OBJECTS Acton Lane
E.g. Furniture, Large Paintings E.g. Books, Luxury, Ceramics, Small London NW10 7FY
& Sculpture Paintings Vehicle access via Central Park only.
1-30 days after the auction Free of Charge Free of Charge

31st day onwards: COLLECTION FROM
Administration Fee £70.00 £35.00 CHRISTIE’S PARK ROYAL
Storage per day £8.00 £4.00 Please note that the opening hours for
Christie’s Park Royal are Monday to Friday
Will be charged on purchased lots at 0.5% of the hammer price or 9.00am to 5.00pm and lots transferred are
Loss & Damage Liability not available for collection at weekends.
capped at the total storage charge, whichever is the lower amount.
All charges are subject to VAT.
Please note that there will be no charge to clients who collect their lots within 30 days of this sale.
Size to be determined at Christie’s discretion.
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11/10/17
148
LEARN MORE AT CHRISTIES.EDU
DEGREE PROGRAMMES • CONTINUING EDUCATION • ONLINE COURSES LONDON • NEW YORK • HONG KONG
149
VILLA SALMANAZAR
SAINT-TROPEZ, FRANCE
A Provencal-style dream with chic Saint-Tropez fair, Villa Salmanazar rests
amid privacy and seclusion in the hills of Ramatuelle, overlooking the famous
bay of Pampelonne, Saint-Tropez, and the surrounding countryside.
Offered at €14,950,000
CHRISTIE’S INTERNATIONAL REAL ESTATE

Georgina James · +44(0)207 389 2942
gjames@christies.com
www.christiesrealestate.com
WRITTEN BIDS FORM
CHRISTIE’S LONDON
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1. I request Christie’s to bid on the stated lots up to the
maximum bid I have indicated for each lot.
Name of Bank(s)
2. I understand that if my bid is successful, the amount
payable will be the sum of the hammer price and the
buyer’s premium (together with any taxes chargeable Address of Bank(s)
on the hammer price and buyer’s premium and any
applicable Artist’s Resale Royalty in accordance with the
Conditions of Sale - Buyer’s Agreement). The buyer’s Account Number(s)
premium rate shall be an amount equal to 25% of the
hammer price of each lot up to and including £175,000,
20% on any amount over £175,000 up to and including Name of Account Officer(s)
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For wine and cigars there is a flat rate of 20% of the
Bank Telephone Number
hammer price of each lot sold.
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in the catalogue. PLEASE PRINT CLEARLY
4. I understand that if Christie’s receive written bids on a Lot number Maximum Bid £ Lot number Maximum Bid £
lot for identical amounts and at the auction these are the (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
highest bids on the lot, Christie’s will sell the lot to the
bidder whose written bid it received and accepted first.
5. Written bids submitted on ‘no reserve’ lots will, in the
absence of a higher bid, be executed at approximately 50%
of the low estimate or at the amount of the bid if it is less
than 50% of the low estimate.
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ARTS OF INDIA

London 12 June 2018

Romain Pingannaud ABSENTEE AND CLIENT SERVICES

WORLD ART GROUP

INTERNATIONAL SALES CALENDAR

27 JUNE 12 SEPTEMBER 12 SEPTEMBER 25 OCTOBER 5 DECEMBER

PROPERTIES FROM: AUCTION

Tuesday 12 June 2018

These auctions feature

View catalogues and leave bids online

Acquired in Peshawar, Pakistan in 1958 and

Figures of bodhisattvas in the Gandhara region are

His hair is formed of collected strands of matted

The simple collapsing knot seen here fnds a

The attire and adornments of the present fgure

This fgure is complete with its unbroken tapering

Acquired in Peshawar, Pakistan in 1958 and

The representation of the Buddha as a teacher

Acquired in Peshawar, Pakistan in 1958 and

Padmapani, the lotus holder, is a bodhisattva

Approximately of the same size and attributed to

Acquired at Polak Works of Art, Amsterdam

Maharana Jagat Singh II (r. 1734-51) was

Acquired at The Arcade Gallery, London, probably

In devanagari (lower border): ma. shri zorawar singh

In devanagari (on the reverse): sabi maharaja shri

£2,000–4,000 $2,800–5,400 PROVENANCE:

€2,300–4,500 Acquired at The Arcade Gallery, London, 18 September 1978

Acquired at The Arcade Gallery, London, 18 September 1978

This illustration belongs to a ragamala set characterised by its

Another illustration, Vibhasa Ragini, from the same set is in the

Acquired at The Arcade Gallery, London, 18 September 1978

Acquired at Maggs Bros., London, 24 June 1976

The obverse of our album page bears a portrait

For a note on Hafz Nurullah see previous lot.

Acquired by Sir Thomas Phillipps in 1834 (Phillipps MS 6730)

Acquired from the Arcade Gallery, London, 16 July 1976

In Antoine Louis Henri Polier's hand: 28. Assemblée de buveurs de Bang

Acquired from The Arcade Gallery, London, 8 November 1976

Christie's Amsterdam, 12 October 1993, lot 34

Indian Miniature Paintings c.1590-c.1850, Amsterdam, 1

J. Bautze, Indian Miniature Paintings c.1590-c.1850, exhibition

The Book of Dreams is a collection of Sanskrit verses, the

Bonhams, London, 12 October 2006, lot 246

Other paintings of Chand Bibi hawking on a

Private collection, Toronto

Bikaner is a town in Rajasthan, recognised for

Bikaner’s painters. Ruknuddin (ca. 1650-1697),

The scale and delicacy of ornament of these fine

Private European Collection, acquired in London in

This prancing model of a horse fnds direct

An earlier brass model of a standing horse, also

The Albert Collection, Christie's, London, 10 June 2010, lot 280

R. Butler, The Albert Collection, 500 Years of British and European

Two very similar

48 Other fees apply in addition to the

The form of this box, a card case, is European in conception. Other

Two openwork steel katars in the Metropolitan Museum of Art,

The gently curved single fuller blade of our katar

This push-dagger has two small wheels to the

58 Other fees apply in addition to the hammer price – see Section

The ruler depicted in our painting appears to be Raja Amar Singh