Tuesday 6 October 2015 - Bonhams · Text (recto only): sura LXXI, Nuh, Noah, part of verse 23 to the last verse (28), and sura LXXII, al-Jinn, The Spirits, verses 1 to 4. The script

ISLAMIC AND INDIAN ARTTuesday 6 October 2015

Bonhams 1793 LimitedRegistered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax

Bonhams 1793 Ltd DirectorsRobert Brooks Co-Chairman,Malcolm Barber Co-Chairman, Colin Sheaf Deputy Chairman, Matthew Girling CEO, Patrick Meade Group Vice Chairman,Geoffrey Davies, Jonathan Horwich, James Knight, Caroline Oliphant, Hugh Watchorn.

Bonhams UK Ltd DirectorsColin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Matthew Bradbury, Lucinda Bredin, Harvey Cammell, Simon Cottle, Andrew Currie, Paul Davidson, Jean Ghika, Charles Graham-Campbell, Miranda Leslie, Richard Harvey, Robin Hereford, Asaph Hyman, Charles Lanning, Gordon McFarlan,

Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Iain Rushbrook, John Sandon, Tim Schofield, Veronique Scorer, James Stratton, Roger Tappin, Ralph Taylor, Shahin Virani, David Williams, Michael Wynell-Mayow, Suzannah Yip.

VIEWINGSunday 27 September11.00-15.00Monday 28 September09.00-16.30Tuesday 29 September9.00-16.30Wednesday 30 September09.00-16.30Thursday 1 October09.00-16.30Friday 2 October09.00-16.30Saturday 3 October11.00-15.00Sunday 4 October11.00-15.00Monday 5 October09.00-16.30

SALE NUMBER 22816

CATALOGUE £30.00

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ENQUIRIESOliver White(Head of Department)+44 207 468 [email protected] Matthew Thomas+44 207 468 [email protected] Rukmani Kumari Rathore+44 207 468 [email protected]

Alice Bailey (Consultant) [email protected]

CUSTOMER SERVICESMonday to Friday 08.30 to 18.00 +44 (0) 20 7447 7447

As a courtesy to intending bidders, Bonhams will provide a written Indication of the physical condition of lots in this sale if a request is received up to 24 hours before the auction starts. This written Indication is issued subject to Clause 3 of the Notice to Bidders.

ILLUSTRATIONSFront cover: lot 102 (detail)Back cover: lot 123 Inside front cover: lot 48 (detail)Inside back cover: lot 119 (detail)

IMPORTANT INFORMATIONIn February 2014 the UnitedStates Governmentannounced the intention toban the import of any ivoryinto the USA. Lotscontaining ivory areindicated by the symbol Фprinted beside the Lotnumber in this catalogue.

ISLAMIC AND INDIAN ARTTuesday 6 October 2015 at 2pm101 New Bond Street, London

Bonhams,Park Royal

West Acton Station

Park Royal

Station

North Acton

Station

Park Royal

Acton Cemetery

Western Ave A40

Western Ave A40

Coronation Road

Park Royal Road

Chas

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Central Middlesex Hospital

Vic

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A40

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SALE INFORMATION

Bids+44 (0) 20 7447 7447+44 (0) 20 7447 7401 [email protected]

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Collection and Storage after saleLots marked with ‘W” includingcarpets & rugs will betransferred to the warehousefrom 9am Wednesday 7October 2015and will be availablefor collection from 9:30amThursday 8 October 2015. All other sold lots will remain inBonhams New Bond StreetCollections department until5:30pm Tuesday 20 October2015. Lots not collected by thenwill be removed to Bonhamswarehouse and will be availablefor collection from 9:30amThursday 22 October 2015.These lots will also be subjectto transfer and storage chargesfrom Tuesday 27 October 2015

Lots may be released from Bonhams warehouse on production of the Collection Order obtained from cashiers office at Bonhams, Knightsbridge or New Bond Street and a form of photographic ID. If a third party is collecting on behalf of the client, the client must provide Bonhams with written authority prior to collection. The third party must present a photographic form of ID when collecting.

Handling and storage chargesTransfer and storage chargesfor ‘W’ items will commenceon Tuesday 27 October 2015and will be applicable for eachworking day.

The charges levied by Bonhams are as follows:

All lots marked with W

Transfer per lot £35.00Daily storage per lot £3.60

All other objects

Transfer per lot £20.00Daily storage per lot £1.90

All the above charges are exclusive of VAT.

Payment in advanceTel: +44 (0) 20 7447 7447to ascertain amount due by:cash, cheque with banker’scard, credit card, ortraveller’s cheque.

Payment at time of collectionBy credit card / debit card

Important NoticeA surcharge of 2% is applicable when using Mastercard, Visa and overseas debit cards.

The following symbol is used to denote that VAT is due on the hammer price and buyer’s premium

† VAT 20% on hammer price and buyer’s premium

* VAT on imported items at a preferential rate of 5% on hammer price and the prevailing rate on buyer’s premium

W These lots will be removed to Bonhams Park Royal after the sale. Please read the sale information page for more details.

VAT refunds on exports from the EUTo submit a claim for refund of VAT HMRC require lots to be exported from the EU within strict deadlines.

For lots on which Import VAT has been charged; marked in the catalogue with a * or Ω, lots must be exported within 30 days of Bonhams’ receipt of payment and within 3 months of the sale date. For all other lots export must take place within 3 months of the sale date.

For further VAT information please contact: [email protected]

IMPORTANT NOTICE TO ALL BUYERSCondition

Condition is not stated in the catalogue. The absence of such reference does not imply that the lot is in good condition or free from faults. Prospective buyers should satisfy themselves by inspection as to the condition of each lot. Condition reports can, however, be provided on request, but are for general guidance only and any such report is, of necessity, subjective.

1A QUR’AN LEAF WRITTEN IN LARGE BOLD KUFIC SCRIPT ON VELLUM ABBASID, MID-9TH CENTURYArabic manuscript on vellum, 5 lines to the page written in large kufic script in brown ink with diacritics and vowel points in red and green, verses marked with a trefoil of three dots in gold, circular marginal ornament added at a later date 203 x 306 mm.

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Text: sura VII, al-A’raf, The Heights, part of verse 88 to part of verse 89. The script and verse markers are very similar to a fragmentary folio in the Nasser D. Khalili Collection of Islamic Art: see Francois Deroche, The Abbasid Tradition, Oxford 1992, p. 77, cat. no. 26, accession no. KFQ35. Also compare the script with M.S. R.11 in the Topkapi Palace Library, Istanbul: see F. Karatay, Topkapi Sarayi Muzesi Kutuphanesi. Arapca yazmalar katalogu, I, Istanbul, 1962.

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2A QUR’AN LEAF WRITTEN IN KUFIC SCRIPT ON VELLUM ABBASID, 9TH-10TH CENTURYArabic manuscript on vellum, 16 lines to the page written in kufic script in brown ink with diacritics and vowel points in red, verses marked by a pyramidal formation of six dots in gold, sura heading in gold followed by a decorative band of alternating circles and diamonds in gold and the remains of a marginal palmette at the right-hand end, waterstaining and creasing, in mount 203 x 260 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Text (recto only): sura LXXI, Nuh, Noah, part of verse 23 to the last verse (28), and sura LXXII, al-Jinn, The Spirits, verses 1 to 4. The script and decorative band between the chapters are very similar to a folio in the Nasser D. Khalili Collection of Islamic Art: see Francois Deroche, The Abbasid Tradition, Oxford 1992, pp. 62-63, cat. no. 15, accession no. KFQ19.

ISLAMIC AND INDIAN ART | 5

3 •AN ILLUMINATED QUR’AN SECTION PERSIA, LATE 16TH CENTURYArabic manuscript on paper, 24 leaves, 13 lines to the page, first and thirteenth lines written in blue in larger naskhi script, seventh line written in gold in naskhi script, remainder of text in smaller naskhi script in black ink with diacritics and vowel points in black and red, inner margins ruled in colours and gold, illuminated circular devices in wide margins, catchwords, waterstaining mostly confined to outer margins but occasionally affecting text, contemporary brown leather with stamped central cartouche with Chinese-style decoration, marbled endpapers, front cover detached 237 x 165 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

4 •AN ILLUMINATED QUR’AN OTTOMAN TURKEY, SECOND HALF OF THE 16TH CENTURYArabic manuscript on cream-coloured paper, 301 leaves, last three folios (including one blank) later replacements, 15 lines to the page written in naskhi script in black ink with diacritics and vowel points in red and black, gold dots between verses, inner margins ruled in blue and gold, trimmed with loss of most of the catchwords, sura headings written in thuluth script in gold, one illuminated frontispiece in two shades of gold, blue and some other colours, waterstaining affecting small areas of illumination, some staining and crude repairs, brown morocco gilt with stamped central medallions decorated with floral and vegetal motifs on a gold ground, doublures of red morocco gilt, later flap, rebacked 132 x 92 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

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5 •A QUR’AN SECTION, INCLUDING TWO ILLUMINATED HEADINGS OF SURA XLII, AL-SHURA, CONSULTATION (ALSO KNOWN AS ‘AIN SIN QAF), AND SURA XLIV, AL-DUKKAN, SMOKE OR MIST PROBABLY OTTOMAN TURKEY, 15TH CENTURYArabic manuscript on paper, 19 leaves, not continuous text, misbound, 8 lines to the page, first and eight lines written in large thuluth with remainder of text written in small naskhi script in black ink with diacritics and vowel points in black, text interspersed with gold rosettes, interlinear and intercolumnar rules in gold, sura headings written in elegant thuluth in gold within illuminated rectangular panels decorated with intertwining vegetal motifs, trimmed with loss of outer margins, remargined, waterstaining, crude repairs, some verses and words retraced, later colophon, on different paper, fancifully attributing the manuscript to Yaqut al-Musta’simi, modern brown morocco, some staining 352 x 265 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

6A COURT BEAUTY OTTOMAN TURKEY, IN THE STYLE OF LEVNI, CIRCA 1710-20gouache and gold on paper 135 x 75 mm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

The painting is in the style of the Ottoman court artist Abdulcelil Chelebi, known as Levni, who enjoyed the patronage of Sultan Ahmed III (reg. 1703-30). He began his career as an illuminator but is best known for his portraits, particularly a series of single figures which appeared in albums. See N. Atasoy, F. Cagman, Turkish Miniature Painting, Istanbul 1974, p. 76; and for a number of portraits in an album in the Topkapi Palace Museum, see I. Stchoukine, La Peinture Turque d’apres les manuscrits illustres, II partie de Murad IV a Mustafa III 1623-1773, Paris 1971, pls. LXXIX-LXXXII.

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7 •FORTY PROPHETIC HADITH OF THE PROPHET CONCERNING THE IMAM ‘ALI, COPIED BY SALIM AL-MASHHADI, AND DEDICATED TO SHAH TAHMASP SAFAVID PERSIA, DATED AH 949/AD 1542-43Persian and Arabic manuscript on pink paper, 10 leaves, 12 lines to the page written diagonally and horizontally in elegant nasta’liq script in black ink, Arabic text picked out in white and gold, inner margins ruled in blue and gold, cornerpieces and outer margins richly decorated with intertwining floral and vegetal motifs in gold, catchwords, fine illuminated headpiece in colours and gold, corners rather worn, faded, two later flyleaves sprinkled with silver, 17th/18th Century red morocco with stamped central medallions, cornerpieces and border panels decorated with cloudbands, serrated leaves on gold ground, with flap, rebacked, edges worn 220 x 157 mm.

£12,000 - 18,000 €16,000 - 25,000 US$19,000 - 28,000

The manuscript is an unrecorded text of forty sayings (hadith) of the Prophet about the Imam ‘Ali, which according to the preface were collected by a certain Dust al-Hashimi al-Husaini (unidentified), put into Persian quatrains and dedicated to Shah Tahmasp (reg. 1524-76), whose name and titles are given in gold. The text was copied by Salim, a nasta’liq scribe, who was of Ethiopian (Habashi) origin and a pupil of Shah Mahmud Nishapuri. He is recorded as a master in writing in colours as well as in ink, as in this manuscript. He lived in Mashhad and died circa 1582. His recorded works are dated between AH 961/AD 1553-54 and AH 976/AD 1568-69 (see Mehdi Bayani, ahval va athar-e khosh-navisan, nasta’liq navisan, vol. 1, 1345 sh, pp. 282-5; V. Minorsky, Calligraphers and Painters, Washington 1959, p. 152). This manuscript would appear to be Salim’s earliest recorded work.

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8A LARGE ILLUSTRATED LEAF FROM A DISPERSED MANUSCRIPT OF FIRDAUSI’S SHAHNAMA, DEPICTING THE ARMIES OF SHIDA, SON OF PIRAN AND OF KAY KHUSRAU, MEETING IN THE KHWARAZM DESERT PERSIA, PROBABLY SHIRAZ, CIRCA 1550Persian manuscript on paper, 5 lines to the page written nasta’liq script in four columns in black ink, intercolumnar rules in colours and gold, miniature in gouache and gold, verso 25 lines to the page with a heading in white within a panel of gold and blue, framed miniature 270 x 220 mm.; leaf 440 x 275 mm.

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

Provenance Private UK collection. Published Arts from the Land of Timur: an exhibition from a Scottish Private Collection, Paisley 2012, p. 261, no. 487.

9AN ILLUSTRATED LEAF FROM A DISPERSED MANUSCRIPT OF FIRDAUSI’S SHAHNAMA DEPICTING AFRASIYAB ABOUT TO CUT OFF THE HEAD OF NAWDHAR PERSIA, 16TH CENTURYgouache and gold on paper, text written in four columns of nasta’liq script in black ink, inner margins ruled in colours and gold, in mount 322 x 189 mm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

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10 *AN ILLUSTRATED LEAF FROM A MANUSCRIPT OF FIRDAUSI’S SHAHNAMA, DEPICTING HOJIR BEFORE SOHRAB AT AN ENCAMPMENT SURROUNDED BY THEIR TROOPS PERSIA, 17TH CENTURYPersian manuscript on paper, 21 lines to the page written in nasta’liq script in black ink, heading in red in nasta’liq script, inner margins ruled in gold, red and blue, trimmed, some losses, illustration significantly retouched, leaf 335 x 220 mm.; and an illustrated leaf from a manuscript of Nizami’s Khamsa, from the Haft Paykar, depicting Bahram in the white pavilion, Persia, Isfahan, second half of the 17th Century, Persian manuscript on paper, 19 lines to the page written in nasta’liq script in black ink in four columns, headings in nasta’liq script in gold in an illuminated panel, inner margins ruled in colours and gold, leaf trimmed of its outer margins, illustration retouched, leaf 275 x 185 mm.; and an illustrated leaf from a manuscript of Firdausi’s Shahnama: Nushirvan orders Mazdak and his followers to be executed, Persia, 17th Century, Persian manuscript on paper, 19 lines to the page written in nasta’liq script in black ink in four columns, inner margins ruled in gold, black and blue, illustration retouched, in mount leaf 344 x 225 mm.(3)

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

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11AN ILLUSTRATED LEAF FROM A DISPERSED MANUSCRIPT OF FIRDAUSI’S SHAHNAMA, DEPICTING FARUD IN BATTLE WITH THE IRANIANS, ATTRIBUTED TO MU’IN MUSAVVIR OR HIS WORKSHOP SAFAVID PERSIA, ISFAHAN, CIRCA 1650Persian manuscript on thin paper, 23 lines to the page written in small elegant nasta’liq script in black ink and diagonally in the inner margin, interlinear and intercolumnar rules in gold, inner margins ruled in colours and gold, heading written in nasta’liq script in red, small repairs, attached to board, in mount, leaf 277 x 165 mm.; text area 193 x 79 mm.; and an illustration excised from a dispersed manuscript, depicting cavalry in action, in the style of Mu’in Musavvir, Isfahan, circa 1650 and later, gouache and gold on paper 139 x 140 mm.(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600


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12 •AMIR KHUSRAU DEHLAVI, KHAMSA, FIVE POEMS SAFAVID PERSIA, LATE 17TH/EARLY 18TH CENTURYPersian manuscript on paper, 208 leaves, 21 lines to the page written in four columns of nasta’liq script in black ink, double intercolumnar rules in gold, inner margins ruled in blue, red and gold, headings written in small nasta’liq script in red, catchwords, interspersed panels left blank, intended for miniatures, five illuminated headpieces in colours and gold, first two folios detached and crudely remargined, waterstaining mostly restricted to outer margins, some crude repairs, rather browned, later Qajar floral lacquer binding, covers decorated with branches of apple blossom, wild red roses and primroses on a gold-sprinkled red ground, crackled, rebacked, corners damaged, doublures decorated with narcissi on a black ground 247 x 157 mm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

There is a seal impression of Isma’il bin Muhammad, dated AH 1211/AD 1796-97. The five poems contained in this manuscript are Makhzan al-asrar; Khusrau va Shirin; Layla va Majnun; Hast Behisht; Iskandarnama.

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13AN ILLUMINATED FOLIO FROM A MANUSCRIPT OF THE JAM-E JAM OF AWHAD AL-DIN MARAGHI’I (D. 1338) SAFAVID PERSIA, 16TH CENTURYPersian manuscript on cream-coloured and gold-sprinkled paper, 12 lines to the page written in two columns in small and elegant nasta’liq script in black ink, double intercolumnar rules in gold, inner margins ruled in blue, green, dark red and gold, outer borders of orange and green paper richly decorated with fantastic birds amidst stylised serrated leaves and flowerheads outlined in gold, the folio with the number 41 in Persian numerals written in upper right corner of text area, in mount folio 245 x 135 mm.; text area 129 x 64 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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14AN ALBUM PAGE WITH CALLIGRAPHY IN NASTA’LIQ SCRIPT PERSIA, CIRCA 1600Persian manuscript on paper, two lines of nasta’liq script in black ink from a prose text within cloudbands against a ground of intertwining floral motifs in colours and gold, borders above and below each consisting of three panels containing ghazals from the poetry of Hafiz, laid down on an album page with finely-illuminated borders with gold floral motifs on a cream ground text area 73 x 189 mm.; album page 225 x 337 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Kirkor Minassian, New York, 1930s-40s (label verso). Adrienne Minassian, New York, 1950s. The collection of Stuart Cary Welch (see Sotheby’s, The Stuart Cary Welch Collection, Part One: Arts of the Islamic World, 6th April 2011, lot 49). Private UK collection. Exhibited Persian Art, The Iranian Institute, New York, 1940 (label verso). Published Arts from the Land of Timur: an exhibition from a Scottish Private Collection, Paisley 2012, p. 262, no. 489.

15AN ALBUM PAGE OF CALLIGRAPHY IN NASTA’LIQ SCRIPT, PROBABLY FROM A DISPERSED MANUSCRIPT OF THE SAYINGS OF THE IMAM ‘ALI, SIGNED BY MIR ‘ALI TABRIZI PERSIA, 16TH CENTURYPersian manuscript on paper laid down on card, the central panel consisting of four lines in Arabic written horizontally in nasta’liq script in black ink interspersed with eight lines in nasta’liq script written diagonally in Persian, all within cloudbands against a ground of scrolling floral motifs, the album page borders later (19th Century) with animals in their natural habitat of trees and flowers in gold on a blue ground, a single line of nasta’liq in gold above the central panel calligraphic panel 105 x 65 mm.; album page 302 x 201 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

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16 •AN ILLUMINATED QUR’AN COPIED BY IBRAHIM DHA’IFI, A PUPIL OF KATANI-ZADEH OTTOMAN TURKEY, LATE 18TH/19TH CENTURYArabic manuscript on cream-coloured paper, 62 leaves, 39 lines to the page written in small and elegant naskhi script in black ink with diacritics and vowel points in red and black, gold discs between verses, inner margins ruled in red, black and gold, catchwords, illuminated devices in wide outer borders, sura headings written in white (now oxidised) on gold ground within rectangular panels, illuminated frontispiece in colours and gold, edges frayed and repaired, some waterstaining restricted to outer margins, contemporary brown morocco, covers decorated with elaborate gilt central medallions incorporating intertwining vegetal motifs and serrated leaves, doublures of pink paper decorated with gilt floral sprays, with flap, upper cover detached, rebacked 218 x 140 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

An interesting feature of this Qur’an manuscript is that every line of text starts with the letter alif, beginning from sura al-An’am.

17 •AN ILLUMINATED QUR’AN COPIED BY MULLA MUHAMMAD INDIA, 18TH CENTURYArabic manuscript on paper, 436 leaves, 10 lines to the page written in clear naskhi script in black ink with diacritics and vowel points in black ink, interlinear Persian translation written in a cursive script in red, gold discs decorated with blue dots between verses, inner margins ruled in blue and gold, catchwords, extensive commentaries written diagonally in nasta’liq script in red or black within gilt cloudbands, sura headings written in thuluth in red ink, one illuminated frontispiece, preceded by two illuminated medallions, in colours and gold, water damage has caused the removal of the blue pigment, heavily waterstained, some crude repairs, some dampstaining mostly restricted to the lower outer margin, later olive-green leather with stamped central medallions, cornerpieces and bands decorated with floral and vegetal motifs, slightly worn 280 x 155 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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18 •AN ILLUMINATED QUR’AN COPIED BY IBN HASAN MUHAMMAD ISFAHANI INDIA, PERHAPS DECCAN, FIRST HALF OF THE 18TH CENTURYArabic manuscript on paper, 331 leaves, 14 lines to the page written in naskhi script in black ink with diacritics and vowel points in black and red, verses marked with red circles, fifth verses marked with the letter ha in red, tenth verses marked with the letter ‘ayn and the letter ashr in red, sura headings written in red within a panel edged in gold, inner margins ruled in black, red, blue and gold, the last three leaves in a different hand and inner margins ruled in black, red and yellow, one illuminated double-page frontispiece in colours and gold with text interspersed with gold stylised clouds, red morocco with gilt decoration 336 x 210 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

The colophon gives the scribe’s name and states that the manuscript was completed on Thursday, 11th Jumada al-Awwal. A seal impression on the leaves preceding and following the main text bears the name of Sayyid Ghulam Bani Qadiri and is dated AH 1186/ AD 1772-73. For a Qur’an in a similar hand, see N. F. Safwat, Golden Pages: Qur’ans and other manuscripts from the Collection of Ghassan I. Shaker, London 2000, no. 20.

19 •A QUR’AN SOUTH-EAST ASIA, PROBABLY INDONESIA, LATE 19TH CENTURYArabic manuscript on thick lined cream-coloured paper with Dutch watermarks, 390 leaves, 15 lines to the page written in a cursive script with vowel points and diacritics in black ink, red roundels between verses, inner margins ruled in black, lacking catchwords, sura headings in red within a blank rectangular panel, two coloured double pages at beginning and end drawn freely, predominantly in yellow, red, brown and black pigments, eight folios detached at end, edges frayed, browned, contemporary red morocco with stamped central medallions, cornerpieces and border panels of gilt paper onlay, lower cover and flap detached, spine and edges worn, an inscription in a local language on flyleaf, 320 x 210 mm.; and a wood Qur’an stand, of folding X-shaped form, carved with stylised floral motifs, probably 19th Century the stand 64 x 24 cm. (folded)(2)

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

For further reading see A. T. Gallop, ‘Islamic Manuscript Art of Southeast Asia’, in J. Bennett (ed.), Crescent Moon: Islamic Art and Civilisation in Southeast Asia, Canberra 2006, pp. 158-189.

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20A CALLIGRAPHIC COMPOSITION, BY HASAN ZARRIN QALAM, CALLIGRAPHER AT THE COURT OF NASR-AL-DIN SHAH QAJAR AND MUZAFFAR-AL-DIN SHAH QAJAR, IN GULZAR STYLE, WITH INVOCATIONS TO ALLAH, MUHAMMAD, ‘ALI AND HASAN AND HUSAIN, COMMISSIONED BY THE MERCHANT HAJI MIRZA JA’FAR AQA-I TABRIZI QAJAR PERSIA, DATED MUHARRAM 1326/FEBRUARY 1908pen and ink with use of some gold and colour on paper, laid down on board, two rectangular panels with two lines of bold gulzar nasta’liq incorporating veiled figures of the Prophet’s family, Qajar dignitaries and merchants, and animals, the ground painted gold with cartouches filled with different styles of calligraphy including nasta’liq, naskhi and shikasteh, some sections of text written in reverse, some waterstaining, one tear, creased 327 x 415 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Hasan Zarrin Qalam (‘Golden Pen’) was a poet with the pen-name Taj al-shu’ara (Crown of Poets), and the present panel is typical of his work, including his poetry, sayings and what others have said in praise of him, written in different styles, including mirror image. For a similar composition, signed by Hasan Zarrin Qalam, dated shawwal 1295/October 1878, see S. Vernoit, Occidentalism, The Nasser D. Khalili Collection of Islamic Art, vol. XXIII, Oxford 1997, pp. 122-123, no. 68. For similar panels see also Bluett and Sons Ltd., Calligraphy and the Decorative Arts of Islam, London 1976, no. 14; Y. Safadi, Islamic Calligraphy, London 1978, pp. 110-111.

21A WRONGDOER PUBLICLY EXECUTED, WATCHED BY HIGH OFFICIALS, MEMBERS OF THE CLERGY AND OTHER ONLOOKERS QAJAR PERSIA, SECOND HALF OF THE 19TH CENTURYwatercolour on paper, laid down on an album page with gilt stylised floral motifs on a blue ground painting 123 x 163 mm.; album page 203 x 290 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The exact subject of this unusual scene is not known, but the presence of various high officials (who wear a style of hat associated with the first half of the 19th Century) is notable.

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22AN ILLUMINATED CALLIGRAPHIC PANEL CONSISTING OF SURA AL-FATIHAH WRITTEN IN NASTA’LIQ SCRIPT, COPIED BY GHULAM REZA PERSIA, MID-19TH CENTURYArabic manuscript on paper laid down on card, text written in six lines of elegant nasta’liq script in black ink within cloudbands, gilt ground decorated with floral sprays and arabesques in colours and gold, inner margins ruled in blue and gold, in mount 305 x 193 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

A handwritten note on the reverse, written by Safa, who describes himself as one of Ghulam Reza’s pupils, reads: ‘This piece of my Sufi guide, Ghulam-Reza, was bought in Shiraz for the khanqah, as a blessing and a sign of my sincere respect for [my] artist guide in 1298/1880-81’. It is rare for the text of the Qur’an to be written in nasta’liq script. According to tradition the Qur’an was written in clear naskhi, thuluth, muhaqqaq and rayhani scripts to avoid any misreading or misinterpretation of the sacred text. The earliest Qur’an copied in nasta’liq script was written for the Safavid ruler Shah Tahmasp by the scribe Shah Mahmud Nishapuri in AH 945/AD 1538–39, now in the Topkapi Library, Istanbul (see M. Lings, The Qur’anic Art of Calligraphy and Illumination, London 1976, p. 190, no. 91, and Y. Safadi, Islamic Calligraphy, London 1978, p. 28). In later centuries it became popular in Persia to commission illuminated album pages and wall panels incorporating the first sura, al-Fatihah, written in nasta’liq script. Ghulam Reza is described by Bayani as one of the best calligraphers of the 19th Century. He was first recognized by Muhammad Shah. In some of his calligraphic pages, Ghulam Reza describes his life and the fact that he was always favoured by Muhammad Shah, who rewarded him with inlaid pen-boxes, Kashmiri shawls and textiles as well as monetarily. At the age of 25 he was in charge of teaching calligraphy to many princes and chancellery officers. He was accused of being a Babi and was banned from Nasir al-Din Shah’s court and spent the rest of his time copying texts and teaching calligraphy. He died in 1886. He wrote nasta’liq script ranging from minute (ghubar) to architectural size (shesh dang). He also wrote in shikasteh and his recorded works include the inscriptions of the Sepahsalar Madrasah in Tehran and numerous calligraphic pages dated between AH 1260/AD 1844-45 and AH 1303/AD 1885-86. See Mehdi Bayani, ahval va athar-e khosh-navisan, nasta’liq navisan, vol. 2, 1346 sh, pp. 550-56. Safa (Reza-Qoli, known as Haj Mirza Safa) was a Sufi of the Ni’matullahi Order (see M. Bamdad, Dictionary of National Biography of Iran, 1700-1900, vol. II, 1966, p. 31). The khanqah mentioned must be the Ni’matullahi’s.

23A LARGE CALLIGRAPHIC COMPOSITION BY NIYAZ KERIM SHAERQI CHINA, SECOND HALF OF THE 20TH CENTURY/21ST CENTURYpen and ink on paper, circular, Arabic composition in bold thuluth script in black ink, two stamp impressions in Chinese in red, gilt border 600 mm. diam.; frame 79 x 79 cm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The text reads: ‘Truly, whenever Allah bestows favours upon a slave [i.e. a believer] he wishes to see these make him prosper’.

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24A NISHAPUR CALLIGRAPHIC SLIP-PAINTED POTTERY DISH PERSIA, 10TH CENTURYwith slightly curving rim on a short foot, decorated in manganese on a cream ground with a circle motif to the centre, the rim with a band of inscription in kufic 33 cm. diam.

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Inscriptions: al-hilah ablagh min al-quwwah, ‘Stratagem is more potent than strength’. This lot is accompanied by a Thermoluminescence Test (Re.S.Artes certificate no. R241512A-6). Slip-painted calligraphic pottery vessels of this type are amongst the most dramatic works of art created during the Samanid period. According to Arthur Lane, ‘their beauty is of the highest intellectual order; they hold the essence of Islam undiluted.’ (Early Islamic Pottery, London, 1947, p. 18) The present dish is decorated with a fine thick kufic inscription which was delicately inscribed with a brush before being tidied up at the edges with a palette knife. The red clay, from which the dish is potted, is typical of the type and the white slip ground is used to display the dark calligraphy to its greatest effect.

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25A LARGE SASSANIAN FACET-CUT GLASS BOWL PERSIA OR MESOPOTAMIA, 5TH-7TH CENTURYof deep rounded form, the aubergine glass decorated with bands of circular facets forming a honeycomb design centered on a larger circular facet to the base 12.5 cm. diam.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

26AN ABBASID LUSTRE POTTERY BOWL MESOPOTAMIA, 10TH CENTURYof shallow rounded form on a short foot with slightly everted rim decorated in a yellowish lustre with a peacock on a hatched ground, the rim with an undulating design, the reverse with a series of rings made up of concentric circles on a ground of hatched lines and circle motifs, the base with pseudo kufic inscription 24.3 cm. diam.

£5,000 - 7,000 €6,800 - 9,600 US$7,700 - 11,000

For a bowl with similar design in the Harvey B. Plotnick Collection, see O. Pancaroglu, Perpetual Glory, Medieval Islamic Ceramics From The Harvey B. Plotnick Collection, Chicago, 2007, p. 49, no. 9.

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27A LARGE NISHAPUR BUFFWARE POTTERY BOWL PERSIA, 10TH CENTURYof deep rounded form with everted rim on a short foot, decorated in yellow, green and manganese on a natural ground with a mounted warrior surrounded by birds, quadrupeds, floral motifs and pseudo-inscriptions 32 cm. diam.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

For a similar buffware pottery bowl decorated with a rider in the Metropolitan Museum of Art, see Charles K. Wilkinson, Nishapur: Pottery of the Early Islamic Period, p. 45, plate 62.

28A MINAI OVERGLAZE-PAINTED POTTERY BOWL PERSIA, 12TH/ 13TH CENTURYof deep rounded form on a long foot, decorated in polychrome and gilt on a pinkish-grey ground with an eight-petalled flowerhead surrounded by a band of palmettes with four issuing palmette pole medallions interspersed by horsemen, the rim with a band of inscription in kufic (undeciphered), the exterior with a band of pseudo inscription, painted collection number to base 20.7 cm. diam.

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

Provenance Collection of Mr. Kazuhiro Matsushita. Private Japanese collection. Published Mikami, Tsugio, Islamic Pottery mainly from Japanese Collections, Vol. II, 1964, pp. 96-97, no. 152.

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29A LARGE INCISED POTTERY BOWL PERSIA, 12TH CENTURYof conical form, incised with abstract vegetal motifs and a band of cable design to the rim, all under a mustard yellow glaze, the rim with a band of manganese glaze 33.7 cm. diam.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Provenance Private UK collection.

30A KASHAN LUSTRE POTTERY STAR TILE PERSIA, 12TH/ 13TH CENTURYin the form of an eight-pointed star, decorated in a brownish lustre with a deer on a ground of vegetal motifs, the border with a band of inscriptions 20.8 cm. diam. max.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: a Persian quatrain and an Arabic couplet, followed by al-’izz al-da’im, ‘Perpetual Glory’.

31A KASHAN LUSTRE FIGURAL POTTERY BOWL PERSIA, 13TH CENTURYof rounded form on a short foot, decorated in a brownish gold lustre on a cream and cobalt-blue ground with seated figures, vegetal motifs and inscriptions, the exterior with a band of inscription 19.5 cm. diam.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Sotheby’s, Islamic and Indian Art, 11 October 1991, lot 249. Sotheby’s Geneva, 25 June, 1985, lot 204. Collection of Johannes Hellner (1866-1947), Stockholm. Exhibited International Exhibition of Persian Art, Royal Academy of Arts, London, 1931, (catalogue p. 119, item H.) Inscriptions: inside, [bara]kah, ‘Blessing’; outside, possible repeat of al- ‘izz, ‘Glory’.

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32A KASHAN MONOCHROME POTTERY TILE PANEL PERSIA, 12TH/ 13TH CENTURYof rectangular form, comprising 165 tiles of eight-pointed star form, partial star form, cruciform and partial cruciform, the star tiles decorated with a turquoise glaze, the cruciform tiles decorated with a cobalt-blue glaze 130 x 85 cm. approx.(165)

£5,000 - 7,000 €6,800 - 9,600 US$7,700 - 11,000

33AN UNUSUAL MAMLUK UNDERGLAZE-PAINTED POTTERY BOWL EGYPT OR SYRIA, 15TH CENTURYon a short foot with wide base, sloping shoulders and circular opening, underglaze decorated in turquoise and cobalt blue with a central band of lattice design with inscription-filled cartouches, a band of wave design below and stylized flower heads above 15cm. high x 21cm. diam.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance UK Private Collection Inscription: ‘izz li-mawlana ...../ al-malik al .../ .... al-sultan al-’alim, ‘Glory to our Lord ... the King, .... The Learned Sultan’.

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34A GROUP OF FATIMID GOLD BEADS EGYPT OR SYRIA, 11TH CENTURYeach of spherical form, comprising three decorated in filigree with petal motifs radiating from each end, the remainder decorated in repoussé with large petal motifs radiating from each end the largest 1.8 cm. max.; 28g.(11)

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

35A PAIR OF SELJUK FILIGREE GOLD EARRINGS PERSIA, 12TH CENTURYeach consisting of an opening hoop element secured by pin with three spherical filigree beads interspersed by fixed beads with three bands of circle motifs, the spherical beads decorated in filigree with circles, triangles and other geometric designs the beads 1.4 cm. diam.; 30g (2)

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

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36TWO GOLDEN HORDE REPOUSSÉ GOLD FITTINGS CENTRAL ASIA, 13TH CENTURYthe first of spherical form, engraved and decorated in repoussé with a band of scrolling foliate motifs, flanked by bands of circle motifs; the second of elongated triangular form decorated in repoussé with foliate vines, on a necklace of carnelian beads the larger 4.4 cm. long(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The chased decoration and workmanship of the gold fittings can be compared to 13th century Central Asian belt fittings in the Khalili Collection (accession no. JLY 1012 A,B) and illustrated in M. Spink, The Art of Adornment: Jewellery of the Islamic Lands Part 2, The Nasser Khalili Collection of Islamic Art Vol. XVII, 2006, nos. 303 and 304, pg. 400. Closely related examples were discovered in the northern Caucasus at Gashun-Usta and in the Talas Valley in Kyrgyztan which are currently in the collection of the State Hermitage Museum in St Petersburg. One of these excavated belt fittings bears the tamgha (heraldic emblem) of the Batu family, the founder of the Golden Horde khanate.

37A QARA QOYUNLU HINGED GOLD SEAL OF SA’DAT SULTAN NORTH WEST PERSIA, 15TH CENTURYconsisting of two hinged elements which close to form an ovoid pendant engraved to the exterior with scrolling interlace, the tendrils forming a lobed palmette, with trefoil openwork fob, the interior panels opening to reveal an inscription in naskhi script 32 mm. long (open)

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Inscriptions: ‘Sa’adat Sultan daughter of Hamzah Tarkhan’. The Qara Qoyunlu, or the Black Sheep Turkomans, were a Shia Oghuz Turkic tribal federation which ruled over an area to the north west of Persia which included the present-day Azerbaijan, Armenia, and parts of Iran, Turkey and Iraq. They eagerly adopted the Timurid artistic style and their development of pictorial and decorative schemes. They did not, however, simply reproduce the aesthetic of earlier Timurid works. Their manuscripts, for example, blended the distinct metropolitan traditions of Herat and Shiraz.

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38A RARE UMAYYAD BRONZE CANDLESTICK SPAIN, 10TH CENTURYof cylindric form on a stepped splayed foot with two raised bands to the lower section and two raised bands to the upper section, terminating in a flaring drip-tray, the central section engraved with a repeat design of interlaced palmettes and split-palmette motifs 46 cm. high

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance Private Spanish collection. This lot is accompanied by an export license from the Ministerio de Educación, Cultura y Deporte (no. 2015/00228) and was registered in 1986 with the Comunidad de Madrid archive (inventory number A-I-M-10-0000069). Very few items of metal work remain from this early period of Muslim Spain. For a more elaborate lampstand in the David Collection, Copenhagen, see Al-Andalus The Art of Islamic Spain, The Metropolitan Museum of Art, exhibition catalogue, New York, 1992, p. 212, no. 11. Another lampstand with an upper spike was found in Madinat Ilbira and is now in the Archaeological Museum in Granada (Arte islamico en Granada, exhibition catalogue, Granada 1995, no.36, p.232). Engraved palmettes to the body of the candlestick can be seen on a series of animals which functioned as fountains (two deer; one from Madinat al-Zahra in the Archaeological Museum, Cordoba, another in the National Museum of Qatar). Madinat al-Zahra was pillaged in 1010, the site was exploited as a source of stone and was forgotten. By 1236 after the conquest of Cordoba by Ferdinand III it was a vast field of ruins. It wasn’t until the 17th century that the site was recognized as being Arab and the mid-19th century when it was definitively identified. A lustre-decorated pottery plate with palmette decoration dated to the 11th century is in the Museo Huesca published in Les Andalousies De Damas a Cordoue, Institut du Monde Arabe, 2000, no. 194.

26 | BONHAMS


39AN EARLY ISLAMIC BRONZE EWER PERSIA OR MESOPOTAMIA, 8TH/ 9TH CENTURYpiriform on a splayed foot with waisted multifaceted neck and flattened rim cast with foliate details to each side, the handle with raised bands at grip, surmounted by a large palmette motif, the base engraved with large eight-petalled flowerhead, the neck and rim engraved with scrolling and undulating foliate details 38.5 cm. high

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

For a similar ewer in the Aga Khan Collection, see The Unity of Islamic Art, Exhibition Catalogue, Riyadh, 1985, no. 79, and for another similar shaped ewer signed by Abu Yazid in the Art Museum of Georgia in Tbilisi, see V. Loukonine and A. Ivanov, Persian Lost Treasures, London, 2003, no. 86, p. 98.

40A KHORASAN COPPER-INLAID BRONZE EWER PERSIA, 12TH/ 13TH CENTURYof piriform on a splayed foot, the spout with hinged lid in the form of a lion head, the handle in the form of a stylised lion, the base with rosette, engraved and decorated in copper inlay with a mihrab motif to the front 24 cm. high

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Provenance London art market, early 1990s.

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41A KHORASAN OPENWORK BRONZE INCENSE BURNER IN THE FORM OF A BIRD PERSIA, 12TH CENTURYwith large feet and hinged head, the body decorated in openwork with roundels containing six-petalled rosettes on a ground of interlaced horse-shoe motifs, the back with scrolling foliate vines, the lower end of rings engraved with stylised feathers, the neck with a band of inscription in kufic, the hinged head decorated to the back in openwork with a band containing a scrolling vine 20 cm. high

£10,000 - 15,000 €14,000 - 21,000 US$15,000 - 23,000

Inscriptions: barakah kamilah wa ni’mah shamilah, ‘Perfect Blessing and Complete [God’s] Grace’.

42A TIMURID TINNED COPPER BOWL PERSIA, LATE 14TH CENTURYof squat rounded form, engraved with a band of cartouches containing inscription in thuluth, inscription in knotted kufic and vegetal motifs interspersed by roundels containing vegetal and geometric motifs, above and below bands of cable motif, the lower band with pendant palmettes 20 cm. diam.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: in cursive, al-’izz al-da’im wa al-iqbal/ al-shalim (sic) [al-salim?] wa al-i’mal (?), ‘Perpetual Glory and Prosperity. Safe [life] and [good] works (?)’; in Kufic, undeciphered.

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43A SAFAVID ENGRAVED BRASS MAGIC BOWL PERSIA, DATED AH 951/AD 1544of rounded form with raised central boss on a short foot, profusely engraved with inscription-filled roundels and bands, the boss with a flowerhead, the petals overlaid with lotuses and other floral motifs 9.2 cm. diam.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Provenance Private UK collection formed in the 1950s and thence by descent. Inscriptions: inside, quotations from the Qur’an; close to the base, in triangular panels, repeat of benedictory Persian verses as dawlat bad/ ‘aqibat khayr bad, ‘May there be prosperity. May the end be good’; under the base, be-tarikh-e 27 shahr-e mobarak-e ramadan sana 951 ‘on 27 of the blessed month of Ramadan the year 951 (12 December 1544)’.

44A SAFAVID TINNED-COPPER VASE PERSIA, 17TH CENTURYin the form of a mosque lamp with compressed globular body on a short foot with long flaring neck, engraved with cartouches containing lotuses and other vegetal motifs, various quadrupeds and inscriptions, with later owner’s inscription, later tinning to surface 25 cm. high

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Provenance Private UK collection formed in the 1950s and thence by descent. Inscriptions: Persian couplets one from Sa’di’s Bustan (frequently found on metalwork, see A. S. Melikian Chirvani, Islamic Metalwork from the Iranian World, London 1982,p. 252) and the other is Daqigi’s; owner’s name, Panjeh-Gol, daughter of Khwajah Hafiz Sabzevari; later owner’s name, Gol-Muhammad Khan son of Rajab Khan.

A PRIVATE COLLECTION OF METALWORK

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45A SAFAVID PIERCED GILT-STEEL PLAQUE PERSIA, DATED AH 1109/AD 1697-98in the form of a lobed cartouche, finely pierced with inscription in thuluth on a ground of scrolling vines issuing flowerheads and split-palmettes, traces of gilding 34 x 25.2 cm.

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Provenance Private UK collection formed in the 1950s and thence by descent. Inscriptions: Qur’an, sura CX, al-nasr, verse 3. Elegant steel panels of this type were used to adorn important monuments of the Safavid period. A panel reputed to come from the tomb of Shah Tahmasp (reg. 1524-76) in Kashan was sold at Sotheby’s (12 October 1982, lot 71) and a group of six panels, one dated AH 972/AD 1564-65, were exhibited at the Louvre in 2007 (see A. S. Melikian-Chirvani, Le Chant du monde: l’Art de L’Iran safavide 1501-1736, exhibition catalogue, Paris 2007, nos. 61-62).

Technically steel panels of this type required great skill to make. First a master scribe would have copied the inscription on paper and transferred it to the steel by means of a stencil or pounce. Steel being primarily used for weapons, it is likely that the maker was a swordsmith trained in the discipline of cutting and forging pattern-welded steel. A cusped panel close in date to ours is in the British Museum, dated AH 1105/AD 1693-94, the year of the death of Shah Suleiman I (inv. OA 358, published in The Arts of Islam, exhibition catalogue, London 1976, no. 235, p. 200). Inscribed with verses from the Qur’an about King Solomon, it was probably made to adorn the wooden railing or grille on the Safavid ruler’s cenotaph and it is likely that our plaque was intended for a similar purpose.


OTHER PROPERTIES

46 A SAFAVID INSCRIBED JADE PENDANT PERSIA, 17TH CENTURYin the form of a six-petalled flowerhead formed of six inscription-filled cartouches radiating from an inscription-filled roundel 5.2 cm. max.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Inscriptions: an invocation to the Prophet as ‘Peace be upon the Lord of Messengers!’ and six similar quotations from the Qur’an that are: invocations to God’s word (Chapter XXXVI (yasin), verse 58), Al Yasin (Chapter XXXVII (al-safat), verse 130), Abraham (Chapter XXXVII (al-safat) verse 109), Moses and Aaron (Chapter XXXVII (al-safat) verse 120), and Noah Chapter XXXVII (al-safat) verse 79), the last being from the Qur’an, chapter XCVII (al-qadr), verse 5) which ends with: ‘Until the rise of Morn’.

47A QAJAR SILVER-MOUNTED INSCRIBED CARNELIAN ARMBAND (BAZUBAND) PERSIA, 19TH CENTURYrectangular, engraved with a central cartouche containing inscriptions on a ground of floral interlace, surrounded by four panels containing inscriptions on a ground of scrolling floral vines, the silver mount with two hinged suspension loops decorated in openwork with foliate motifs 8 x 6 cm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Inscriptions: in the centre, huwa. ‘azza man qana’a wa dhalla man tama’a, He (God). Powerful is the one who is content and contemptible is he, who is greedy’; in the borders, Arabic verses attributed to Imam ‘Ali.

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48A NASRID WOVEN SILK PANEL SPAIN, 15TH CENTURYof rectangular form, woven in red, yellow, green and white silk with a central panel containing a repeat design of eight-petalled flowerheads, above and below two bands of geometric designs, mounted 87 x 45 cm.

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

The centre of production for fine luxurious textiles made for the Nasrid court was Granada. According to the historian al-Maqqari, the city was referred to as ‘the Damascus of the west’, due to the high quality of its silks (Miriam Rosser-Owen, Islamic Arts from Spain, p. 61). The geometric designs in the border panels of the present lot recall the intricate tile mosaics which line the walls of the Nasrid apartments at the Alhambra.


49AN IMPERIAL OTTOMAN CINTAMANI SILK AND METAL THREAD BROCADE FRAGMENT (KEMHA) BURSA, TURKEY, SECOND HALF OF THE 16TH CENTURYof deep pink, yellow and blue silk with metal thread, woven with bands containing cintamani motifs, mounted 20.7 x 18 cm. max.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Most Ottoman silks produced for use within the empire were used either for garments or furnishings. The cintamani was a popular decorative motif reproduced on textiles, usually depicted as two wavy horizontal bands alternating with three circles in triangular formation. Translated from Sanskrit as “auspicious jewel,” the motif originated in Buddhist imagery, and may represent pearls and flames.

The design elements of cintamani are sometimes referred to as “tiger stripes” and “leopard spots.” Similar iconography is found in 16th Century Persian manuscript paintings featuring the Shahnama’s hero, Rustam, who wears a garment of tiger skin and a leopard-skin hat, and possibly represents the fabric in Ottoman documents called pelengi (leopard-like) or benekli (dotted). Occasionally, cintamani is combined with floral elements in a delicate balance of the two distinctive styles, or the wavy lines and circular elements are separated to create singular motifs. In any combination, elements of cintamani were believed to protect the wearer and him with physical and spiritual fortitude. Another kemha fragment dated to the late 16th Century which uses groupings of large and small cintamani triple dot motifs in the same palette is in the Victoria and Albert Museum (836-1904) (see Nevber Gursu, The Art of Turkish Weaving, p. 102, fig. 96); and for two further related fragments, see Sotheby’s, Art of the Ottoman Empire, 24 April 2012, lots 157 and 158.

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50AN IZNIK POTTERY JUG TURKEY, CIRCA 1580piriform with flaring neck on a splayed foot, decorated underglaze in raised-red, cobalt blue and green with black outline on a white ground with large tulips and carnations 21.5 cm. high

£5,000 - 6,000 €6,800 - 8,200 US$7,700 - 9,300

Provenance Private UK Collection. For a similar jug from the collection of Sir Alan Barlow sold in these rooms, see Bonhams, Islamic and Indian Art, 19 April 2007, lot 133.

51AN IZNIK POTTERY TANKARD TURKEY, 17TH CENTURYof cylindrical form with angular handle, decorated underglaze in raised-red, cobalt-blue and green with black outline with alternating sprays of tulips and hyacinths, above and below bands of cloud motifs 19 cm. high

£1,500 - 2,000 €2,100 - 2,700 US$2,300 - 3,100


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52AN IZNIK POTTERY DISH TURKEY, CIRCA 1600of shallow rounded form with everted rim, decorated underglaze in raised-red, cobalt blue and green with black outline with a floral spray consisting of a saz leaf, carnations and tulips issuing from a leafy tuft, the rim with a rock wave pattern, the reverse with foliate motifs 31 cm. diam.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

53AN IZNIK POTTERY DISH TURKEY, CIRCA 1560of shallow rounded form with sloping cusped rim, decorated underglaze in cobalt blue, green and raised-red with black outline with a spray of tulips, hyacinths and carnations issuing from a leafy tuft, the rim with rock and wave design, the exterior with flowerheads and foliate sprays 30 cm. diam.

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

Provenance Formerly in the Bompard collection. The colour red was introduced to Iznik pottery in the late 1550s at the same time as emerald green. A dense slip composed of red clay was applied in relief under the glaze causing the red areas to be raised. The present lot was made during the transitional period when raised red was still in an experimental phase.

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54AN IZNIK POTTERY TILE PANEL TURKEY, CIRCA 1570comprising four rectangular tiles, each decorated in raised-red, cobalt blue, turquoise, green and brown with black outline on a white ground with large saz leaves overlaid with tulips on a ground of prunus sprays, one corner with a partial medallion containing carnations, another with partial flowerhead, mounted 54.5 x 32 cm.

£15,000 - 25,000 €21,000 - 34,000 US$23,000 - 39,000

An almost identical tile from the Ansari Complex, Eyup, Istanbul sold at Christie’s, Art of the Islamic & Indian Worlds, 7 April 2011, lot 112.


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AN OTTOMAN METAL THREAD-EMBROIDERED MAHMAL COVER MADE BY ORDER OF SULTAN MAHMUD II (REG. 1808-39) AND LATER REUSED UNDER SULTAN MUHAMMAD V (REG 1909-18) EGYPT, 19TH CENTURY, THE TUGHRA OF SULTAN MUHAMMAD V EARLY 20TH CENTURYthe lower cubic section surmounted by canopy in the form of a pyramid, one side with opening, of red and green silk profusely embroidered with silver and gilt-silver thread to each side of the lower section with two inscription-filled roundels surrounded by vines and floral sprays, above inscription-filled panels, the border with a band of interlocking palmette motifs; the upper section to each side with cartouches containing tughras to two sides and inscriptions to the remaining two sides, above further inscription filled cartouches, surrounded by vines and floral interlace, the borders with interlocking palmette motifs, with six loose panels embroidered with two bands of inscription and a panel containing scrolling foliate vines 265 x 125 x 125 cm.(7)

£60,000 - 80,000 €82,000 - 110,000 US$93,000 - 120,000

Inscriptions: in the bands in gold on red, Qur’an, chapter II (al-baqarah), verse 255; mahmal kiswah al-ka’bah al-musharrafah, The cloth of the cover of the exalted Ka’bah’; in a cartouche below it, also in gold on silver, amara bi-’amal hadha al-mahmal mawlana al-sultan Mahmud al-thani a’azza allah ‘Our Lord Sultan Mahmud the second, may God glorify him, ordered this cloth’; in the roundels, The names God, the Prophet (in gold on gold), the four Orthodox Caliphs and Hasan and Husayn (in gold on green); Mahmal (?) mawlana al-sultan, ‘The cloth of Our Lord the Sultan’; underneath it there is a tughra which says Muhammad bin ‘Abd al-Majid (Muhammad V Rashad (r. 1327-36/1909-18); on the loose panels, in gold on green: The shahadah.

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55 (details of sides)

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The mahmal is a ceremonial palanquin which accompanied the pilgrim caravan on route to Mecca during the Hajj. Produced each year, or sometimes reused like the present lot, it represented the authority of the Sultan over the holy places. It was mounted on the back of a camel, forming a symbolic centrepiece for the pilgrims, and housed a copy of the Qur’an. The first mahmal was sent by the Mamluk Sultan from Egypt in AD 1266. A later description by the fifteenth century encyclopaedist al-Qaqashandi describes ‘a tent made of embroidered yellow silk and topped by a spherical finial’, and the earliest surviving example in the Topkapi Palace commissioned by Sultan al-Ghawri (d.1516) is also yellow, the dynastic colour of the Mamluks. Later Ottoman examples, such as one in the Khalili Collection dated to c.1867-76, adopt the same colour scheme of red and green as the present lot. (Venetia Porter (ed.), Hajj, journey to the heart of Islam, British Museum exhibition catalogue, London, 2012, pp. 140-141). Following the Hajj the mahmal was brought back to Cairo by the returning caravan, and the camel which had carried it to Mecca was rewarded for its hardship by being excused from labour for the rest of its life.

55 (panels)


56AN OTTOMAN WOVEN SILK LAMPAS-WEAVE TOMB COVER FRAGMENT TURKEY, 18TH/ 19TH CENTURYrectangular, decorated in yellow on a green ground with zig-zag bands containing inscriptions, mounted 102 x 83 cm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

Inscriptions: in the wide band, repeat of the shahadah, in the narrow bands, repeat of Qur’an, chapter III (al-ahzab), verse 56, followed by invocations to God to be satisfied with the four Orthodox Caliphs and the companions, all of them, in the wide band in cartouches, repeat of, ya mannan ya hanan, ‘O the Propitious! O the Most Compassionate!’.

57AN OTTOMAN WOVEN SILK LAMPAS-WEAVE TOMB COVER FRAGMENT TURKEY, LATE 19TH/ EARLY 20TH CENTURYrectangular, decorated in cream on a crimson ground with zig-zag bands containing inscriptions, backed 147 x 80 cm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: in one wide band, allahu rabbi wa la sawahu muhammad habib allah, ‘God is my Lord and there is none but Him, Muhammad is Friend of God’; in the other wide band, al-salat wa al-salam ‘alayka ya rasul allah, ‘Salutation and Peace be upon you O Messenger of God’; in two narrow bands, allahumma sall wa sallam ‘ala ashraf jami’ al-anbiya’ wa al-mursilin, ‘O God bless the most noble of prophets and messengers (i.e. Prophet Muhammad)’, wa radi allah ta’ala ‘an abi bakr wa ‘umar wa ‘uthman wa ‘ali wa ‘a baqiyyat al-sahabah ajma’in, ‘And may Mighty God be satisfied with Abu Bakr, ‘Umar ‘Uthman and ‘Ali and the rest of Companions, all of them’.

56

57

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58 W

A METAL THREAD EMBROIDERED SILK PANEL WITH THE TUGHRA OF SULTAN MAHMUD II (REG. 1808-1838) of rectangular form, the black, red and green silk ground decorated in silver and gilt-silver threads with an inscription-filled cartouche and two inscription-filled roundels on a ground of floral scrolls and garlands, a tughra below, the border with a band of inscription and a band containing a repeat design of paired foliate motifs 214 x 122 cm.

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

Inscriptions: in the borders, Qur’an, surah XLVIII, al-Fath, 27-29; in the rectangular cartouche, al-salat wa al-salam ‘alayka ya man zinat allah, ‘Benediction and Peace be upon you O the one Who is the ornament of God!’; in the roundels, the shahada; the tughra of Mahmud II (reg. 1808-1838).


59AN ENAMELLED GLASS MOSQUE LAMP WITH THE NAME OF ‘ABBAS HILMI PASHA (REG. 1892-1914) EGYPT, CIRCA 1900of typical Mamluk form with sloping rounded body and flared mouth on short foot, six simple loop handles around the body, the surface decorated in red and blue enamels and gilt with a band of red-outlined blue thuluth around the mouth, the underside of the body with similar calligraphy divided by three roundels giving the name of the patron as ‘Abbas Hilmi, the body with double red band of strapwork forming drop shapes around the handles alternated with cartouches of floral panels reserved against a blue ground, a band of red circles between cusped borders below, similar cusping between all registers 34.5cm. high

£15,000 - 25,000 €21,000 - 34,000 US$23,000 - 39,000

Inscriptions: Qur’an, chapter XXIV (al-nur), part of verse 35; in the roundels, repeat of, ‘izz li-mawlana al-khadiv ‘abbas hilmi al-thani adam allah ayyamahu ‘Glory to our Lord, the Khediv ‘Abbas Hilmi II, may God prolong his time’. Abbas II Hilmi Bey, also know as ‘Abbas Hilmi Pasha (1874-1944) was the last Khedive or Ottoman viceroy of Egypt.

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60A KUTAHYA UNDERGLAZE-PAINTED POTTERY JUG TURKEY, EARLY 19TH CENTURYof waisted form with ‘s’ shaped handle, curved spout and partial cover, decorated in raised red, cobalt-blue, yellow, green and manganese with black outline on a cream ground with a series of floral sprays surrounded by flowerheads 19.6 cm. max.

£1,500 - 2,000 €2,100 - 2,700 US$2,300 - 3,100

61THREE OTTOMAN GILT-DECORATED BEYKOZ GLASS VASES TURKEY, 19TH CENTURYeach on wide splayed feet with domed lids and strap handles to each side, two of cut glass decorated with floral sprays and gilt, the third decorated in gilt with large heart motifs on a lattice ground filled with foliate sprays the largest 35 cm. high(3)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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62A GREEK ISLANDS SILK-EMBROIDERED LINEN COVERLET BORDER PANEL CRETE, LATE 17TH/ EARLY 18TH CENTURYthe natural linen ground embroidered in polychrome silk satin and running stitch with an overall design of the cycle of life with musicians, dancers, huntsmen, mythological animals, stages and mermen with sprays of tulips, carnations and roses 191 x 38cm.

£7,000 - 10,000 €9,600 - 14,000 US$11,000 - 15,000

Provenance French Private collection, Paris. Published Turquie au nom de la Tulipe, Exhibition Catalogue, Centre Culturel de Boulogne-Billancour, 1993, no. 98. Cretan embroidery is distinguishable from other Greek Island embroideries by its large variety of colours and the use of a wide array of different stitches within the same textile. Whereas works from nearly all other Greek Islands employ only one or two types of stitching in one piece, Cretans executed their embroideries, such as the lot offered here, with a mixture of feather, herringbone, satin, knot, chain, stem and other stitches. Colours preferred by the people of Crete are red, green, blue, numerous shades of yellow, brown, black and white. Based on their colour palette, Cretan embroideries can be divided into two categories: polychrome and monochrome. Embroideries in the monochrome style can be characterized by the use of a single colour, which is most often red or dark blue, whereas those belonging to the polychrome category, such as this lot, employ a large variety of colour. The density of the design and the complex arrangement of interconnecting individual ‘scenes’ are also hallmarks of this latter group and are well exemplified in this work. The large format of this embroidery further lends itself to a highly intricate composition, which can be only partially achieved when attempted in smaller textiles, such as towels or articles of clothing. Some of the individual motifs incorporated into the composition, such as the double-headed eagle and other fantastical birds, derive from Italian Renaissance prototypes and their use in embroidery dates back to the period before Crete was conquered by the Ottoman Empire in 1669, when Venice ruled the island. This work is unquestionably a tour de force of Cretan embroidery and its fine execution, extremely large array of design elements and excellent condition make it a highly attractive and rare piece of textile art. Comparable examples of similar quality and design were sold at Sotheby’s New York, 1 October 1998, lot 93 and Sotheby’s, Textiles, Rugs and Carpets from the Collections of Bergi Andonian and Joseph Fell, 19 May 2001, Lot 127, from which this may be the border; a detail from a related example with the Textile Gallery was illustrated in Hali, issue 98, p. 147, fig. 16; and Sumru Krody, Embroidery of the Greek Islands and Epirus Region: Harpies, Mermaids and Tulips, Washington D.C., The Textile Museum, 2006, pp. 28-29, fig. 1.7.


63 Y

A FINE ORMOLU-MOUNTED TORTOISESHELL AND ENAMEL CLOCK CASE FOR THE OTTOMAN MARKET BY MARKWICK-MARKHAM & PERIGAL LONDON, CIRCA 1770rectangular with openwork domed element to top surmounted by urn, doors to each side mounted with ormolu panels decorated in openwork with floral and foliate sprays issuing from urns, the corners with ormolu pilasters surmounted by urns, the face decorated in polychrome enamel with floral sprays surrounding the main dial and subsidiary strike-silent and tune selection dials (disused), the main dial with Turkish numerals and signed MARKWICK MARKHAM and PERIGAL LONDON, hinged ormolu door to back decorated in openwork with lattice, later French movement with countwheel strike on bell 47 cm. high

£20,000 - 30,000 €27,000 - 41,000 US$31,000 - 46,000

For two similar clocks by Markwick-Markham & Perigal in the Dolmabahçe Palace, Istanbul, see Vahide Gezgor et al, Clocks in the National Palaces, Istanbul 1997, pp. 20-23, nos. 3 and 4.

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64A FRENCH BRASS AND MARBLE NOON CANNON FOR THE OTTOMAN MARKET PARIS, DATED AD 1788of typical form, the circular marble base mounted with a shaped gnomen, a burning lens adjustable against a quadrant with calendar scale and a small signal cannon, the base inscribed “Loiseau Ingr. Optn. 35. Quai de l’horloge Paris” and below in Arabic, “Constantinople” “Mecca” and “Medina”, the latitude 35 degrees 40 minutes, and date AD 1788 24cm. diam.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The noon cannon reached the height of its popularity in the 18th century. The small cannon was loaded with a charge of gunpowder. When the sun shone on the device at noon, the magnifying glass would direct a beam of light which would discharge the cannon. All in the vicinity would then be able to adjust their pocket watches to the correct time.

65AN OTTOMAN ENGRAVED OSTRICH EGG HANGING ORNAMENT BY HASAN FEHMI EFFENDI TURKEY, DATED MUHARRAM 1278/JULY 1861profusely engraved and inlaid with black and red composition with a series of interlocking arched cartouches and roundels containing inscriptions, architectural scenes, a steam train, a soldier, a stalk and a dervish, with gilt copper (tombak) mounts to each end 18 cm. high

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: an Arabic qasidah, (not fully deciphered or identified); figures identified as, ‘First qasidah’, ‘Arabic’, ‘Dervish’ and ‘Ostrich egg’; on the top, ‘Drawn by Hasan Fehmi Effendi .... In 17 m [Muharram?], year 1278 (25 July 1861)’.

64 65

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66A GILT AND SILVER PLATED COPPER PANEL WITH THE TUGHRA OF SULTAN ABDULMECID II TURKEY, CIRCA 1900of rectangular form with curved corners and lobed ends, the applied central oval panel with applied openwork tughra, the applied border in the form of stylised interlaced palmettes, applied inscription-filled cartouche to reverse 29 x 23 cm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

Inscriptions: to reverse, ‘Muhammad Salim. The Exalted Capital (dar al-khilafah)’.

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67 Y Ф

A PORTRAIT OF SULTAN ‘ABDULMECID I (REG. 1839-61) TURKEY, OR FRANCE, 1840-50gouache on an oval ivory disk, depicted wearing embroidered robes and a red tarboosh with plume, in an ornate silver frame 105 mm. high; frame (inc. suspension loop) 160 mm. high

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

A number of small portraits on ivory of Sultan ‘Abdulmecid exist. The Armenian Manas brothers Sebuh and Josef, sent by Mahmud II to Paris for training, both worked for the palace during the reign of Abdulmecid. Numerous portraits both signed and unsigned by Sebuh (1816-89) are in the Topkapi Sarayi and archive records tell us that he was decorated with the Order of the Mecidiye for his work. Jean Portet (d.1862) was a well-known French miniaturist working in Istanbul who also painted miniature portraits of Abdulmecid as well as engravings. Both artists produced paintings which bear similarities to ours, although the sparse facial hair indicates a date earlier rather than later in his reign (see The Sultans Portraits: Picturing the House of Osman, Turkiye Is Bankasi, Istanbul, 2000, nos. 155-159; J.M. Rogers Empire of the Sultans. Ottoman Art from the Collection of Nasser D. Khalili, London, 1995, no. 171; and for works sold at auction, Christie’s Art of the Islamic and Indian Worlds, 4th October 2012, Lot 264; Sotheby’s, Arts of the Islamic World, 24th October 2007, Lot 291).


68 W

A KUTAHYA UNDERGLAZE-PAINTED POTTERY TILE PANEL BY AZIM ÇINI TURKEY, CIRCA 1950rectangular, decorated in polychrome with Iznik style decoration consisting of a repeat design of interlocking cartouches formed from undulating split palmettes filled with sprays of tulips, saz leaves, lotus flowers and other floral and foliate motifs, the border with alternating flowerheads and saz leaves, some tiles inscribed ‘AZIM’ verso 420 x 160 cm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

Provenance European private collection. Irfan Kipman.

69 W

A KUTAHYA UNDERGLAZE-PAINTED POTTERY TILE PANEL BY AZIM ÇINI TURKEY, CIRCA 1950rectangular, decorated in polychrome with Iznik style decoration consisting of a repeat design of interlocking cartouches formed from undulating split palmettes filled with sprays of tulips, saz leaves, lotus flowers and other floral and foliate motifs, the border with alternating flowerheads and saz leaves, some tiles inscribed ‘AZIM’ verso 341 x 160 cm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance European private collection. Irfan Kipman.

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70A CANTAGALLI IZNIK STYLE POTTERY DISH ITALY, 19TH CENTURYof shallow form with flattened rim on a splayed foot, decorated in polychrome on a white ground with split palmettes, cintamani motifs, saz leaves and flowerheads on a ground of fish scale design, the reverse with tulips and stylised flowerheads, maker’s mark to base 40.2 cm. diam.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

71AN OTTOMAN SILVER FILIGREE MIRROR TURKEY, 19TH CENTURYin the form of a lobed cartouche, with silver filigree border, the reverse clad in crimson velvet with applied filigree floral sprays with bees 53 x 40 cm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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72A HAND-COLOURED SILVER-INLAID BONE FAN DEPICTING AN OTTOMAN STREET SCENE FRANCE, CIRCA 1850each stick carved and decorated in openwork and silver inlay with floral and foliate designs, the guard with oval mirror, the handle end with mother of pearl mounted pin, the mount decorated with printed Istanbul street scene embellished with hand-colouring and gilt, the reverse with European figures and decorative motifs, with perspex stand 51 cm. max. (open)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

73A MOTHER OF PEARL-INLAID OLIVE WOOD CRUCIFIX JERUSALEM, 18TH CENTURYon a triangular base, profusely inlaid with mother of pearl with quatrefoil and losenge motifs, the base with a cartouche containing two crossed arms before a crucifix, the cross inlaid with roundels engraved with the Stations of the Cross, with applied figures of the Virgin Mary, the four Evangelists and other decorative motifs, with possibly later silvered bronze figure of Christ 45.4 cm. high

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

74 W

A BOKHARA SILK EMBROIDERED LINEN PANEL (SUSANI) UZBEKISTAN, 19TH CENTURYrectangular, the linen ground embroidered in polychrome silk with small flowerheads each issuing four foliate motifs forming a lattice filled with larger fowerheads, the border with alternating foliate motifs and flowerheads, mounted 118 x 237 cm.

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

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75A SASSANIAN REVIVAL SILVER EWER PERSIA, 20TH CENTURYpiriform on a splayed foot with rectangular covered spout, hinged lid and applied handle with raised bands to grip and curved thumb-rest, engraved and decorated in repoussé with cartouches containing scrolling foliate vines, some overlaid with hares, the spout with a band of inscription in kufic, the body with large peacock to each side 37.5 cm. high; 1229g.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: wa al-karamah wa, ‘and Generosity and’, and wa al-birr, ‘and Piety’.

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76A PAIR OF GILT AND ENAMELLED GLASS LAMPS FOR THE QAJAR MARKET BOHEMIA, 19TH CENTURYeach with cut glass baluster supports on splayed feet with removable shades and pendant glass shards, the shades decorated in polychrome and gilt with lion and suns flanked by urns with issuing floral sprays each 61 cm. high(2)

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

77A GILT AND ENAMELLED GLASS CANDELABRUM FOR THE QAJAR MARKET BOHEMIA, 19TH CENTURYthe cut glass base surmounted by two acanthus leaves, a central shaft with drip tray and two shafts surmounted by drip trays and detachable shades, the drip trays with pendant glass shards, profusely decorated in gilt and polychrome enamel with floral and foliate motifs 68 cm. high

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

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78A LOBMEYR ENAMELLED GLASS DISH VIENNA, CIRCA 1880of shallow form, the clear glass decorated in polychrome enamels and gilt with a central roundel containing geometric designs based around a six-pointed star surrounded by a narrow band containing Arabic inscriptions in naskhi and a wide band containing radiating petal motifs alternately filled with geometric designs and floral sprays and flanked by further lines of Arabic inscriptions in cursive script, the reverse with enamelled Lobmeyr monogram to centre, surrounded by a band of enamelled German inscriptions 38.5 cm. diam.

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

Inscriptions: in Arabic, repeat of, al-’aql aqwaya asas wa al-taqwa afdal al-ba’s, ‘Reason is the strongest foundation and pious life, the best of fortitude’; in German, ‘Intelligence is man’s best support, honesty is man’s best trait.’ For a similar dish sold at Christie’s see Art of the Islamic and Indian Worlds, 31 March 2009, lot 231.


79A LARGE PAINTED GESSO ALHAMBRA MIHRAB PLAQUE GRANADA, CIRCA 1900rectangular, decorated in red, blue, black and gilt with a mihrab niche with two windows above, framed 70 x 41.5 cm. including frame

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: in cursive, repeat of the Nasrid motto (in panels as well as in the small roundels), wa la ghalib illah allah, ‘And there is no conqueror except God’; in kufic, a repetition of the shahadah.

80A SILVER-PLATED NASRID REVIVAL WALL CABINET PROBABLY FRANCE OR GERMANY, CIRCA 1880of rectangular form with crest and pendant finials to base, with two hinged doors above a drawer, the lock hidden by a hinged plate, profusely cast with vegetal and geometric designs, the doors in openwork with red fabric behind, one door knob stamped ‘FRANCE’, the reverse stamped with maker’s mark, ‘GESETZLICH GESCHUTZT’ and registration number 2314, with wood interior 60 x 35 x 18 cm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

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58 | BONHAMS

81 W

A NASRID REVIVAL MARQUETRY WOOD CABINET AND STAND GRANADA, 19TH CENTURYthe cabinet with three tiers of drawers with central door opening to reveal two further drawers, decorated in bone and specimen wood inlay with geometric and architectural motifs, surmounted by openwork balustrade with turned wood finials, on four feet, the stand in the form of an openwork arcade with carved openwork wood spandrels, on six feet 155 x 90 x 35 total size(2)

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

82 W

A NASRID REVIVAL MARQUETRY WOOD BOOKCASE GRANADA, 19TH CENTURYwith four shelves, the second with a four-bay arcade, the first and fourth with carved wood openwork spandrels surmounted by inscription-filled cartouches, the third shelf with two drawers, the top shelf surmounted by small pavilion and turned wood balustrade to back and sides 174 x 110 x 46 cm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

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83AN OTTOMAN GILT-DECORATED BOW (YAI) TURKEY, EARLY 19TH CENTURYthe outer face made from a strip of buffalo horn and the inside lacquered and painted in red and black and decorated with gilt scrolls and floral sprays 94 cm. long

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

For a similar example which is signed and dated see R. Hales, Islamic and Oriental Arms and Armour, no. 721; and A. Taskin (ed.), Harem: House of the Sultan, exhibition catalogue, Istanbul 2012, no. 170, pp. 288-89. A similar example, with arrows, was sold at Christie’s, Art of the Islamic and Indian Worlds, 10th April 2014, lot 220.

84AN OTTOMAN MOTHER-OF-PEARL INLAID MIQUELET FLINTLOCK RIFLE TURKEY, 19TH CENTURYthe wood butt and stock inlaid with a lattice design of lozenge shaped mother of pearl fragments, the steel barrel decorated in gold damascene near the muzzle and lock with scrolling vines terminating in large cyprus motifs 96.5 cm. long

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

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85 Y

A LARGE QAJAR WALRUS IVORY-HILTED DAGGER PERSIA, 19TH CENTURYthe steel blade with central raised ridge, decorated in gilt to both sides with inscription-filled cartouches to upper blade and series of lobed cartouches containing floral elements continuing down to point; the ivory hilt deeply carved with ruler and attendants between two bands of inscriptions; the wood sheath with red velvet cover and silver gilt fittings 53cm. long

£5,000 - 6,000 €6,800 - 8,200 US$7,700 - 9,300

Inscriptions: on the hilt, two couplets in praise of a dagger commonly used on daggers with ivory or bone hilts, the first couplet is by the poet Awhad al-Din ‘Ali pen-named Anvari (d. 575/1189) in his qasidah eulogizing Sultan Sanjar, the second from a qasidah by Kamal al-Din Muhtasham Kashani (d. 996/1588); on the blade, an inscription mentioning the name Fereydun Sultan who might be the Qajar Prince Fereydun Mirza (d. 1272/1855-6), a son of ‘Abbas Mirza.

86A REPOUSSÉ GOLD-MOUNTED STEEL SWORD (SAIF) PRESENTED TO SIR HAROLD BEELEY KCMG, CBE (1909-2001) SAUDI ARABIA, CIRCA 1950the steel blade of tapering form, the hilt and cross guard clad entirely in gold, with gold chain linking quillon and pommel, the wood scabbard clad entirely in gold, decorated in repoussé with floral sprays, geometric designs and other floral motifs 98 cm. long

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Sir Harold Beeley; and thence by descent. Sir Harold Beeley KCMG, CBE (15 February 1909 – 27 July 2001) was a British diplomat, historian, Middle East advisor to Ernest Bevin, twice appointed British Ambassador to Cairo during both Suez crises & founder of the World of Islam Trust in London. Between 1930 and 1939 he held academic posts at a number of universities including Oxford and University College London. Following the war in 1946 he joined the Diplomatic Service and was appointed to his first ambassadorship in Saudi Arabia in 1955. It is likely that this sword was presented to him at this point in his career.

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87AN OTTOMAN JADE-HILTED WATERED-STEEL DAGGER TURKEY, 18TH CENTURYthe double-edged watered steel blade of slightly curved tapering form, decorated with a series of conjoined palmette motifs to each side, the jade hilt of waisted form, the wood scabbard glad in green velvet with Persian gold-damascened steel mounts decorated with floral and foliate motifs 47 cm. long

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Private UK collection formed in the 1940s and 50s and thence by descent.

88 Y Ф

AN OTTOMAN IVORY-HILTED DAGGER WITH NIELLO AND PARCEL-GILT SCABBARD THE BALKANS, DATED AD 1794the single-edged steel blade of tapering from with flattened spine, inlaid in silver with trefoil motifs, the forte and centre of grip clad in silver decorated in niello with floral motifs, the grips of ivory with large ears, the wood scabbard clad entirely in silver decorated in niello with geometric motifs, scrolling vines and other foliate motifs, dated 1794 to one side, silver-gilt mounts to each end and hinged suspension loop to one side 40.4 cm. long

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600


A PRIVATE COLLECTION OF DAGGERS

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89 ≈AN OTTOMAN GEM-SET JADE-HILTED DAGGER TURKEY, 19TH CENTURYthe double-edged watered-steel blade of curved and tapering form with raised central spine, the jade hilt of multifaceted waisted form, the pommel surmounted by a silver-gilt lion atop its vanquished prey, both with ruby-set eyes, the blade decorated at the forte to each side with gold damascened foliate interlace and inlaid rubies and emeralds, the wood scabbard clad entirely in silver-gilt decorated in repoussé with scrolling foliate interlace, the top end with set with diamonds, rubies, emeralds and turquoises, the finial inlaid with rubies and turquoises 40.4 cm. long

£4,500 - 6,500 €6,200 - 8,900 US$6,900 - 10,000



90TWO MUGHAL JADE-HILTED DAGGERS NORTH INDIA, 18TH/ 19TH CENTURYthe first with double-edged watered steel blade with raised central spine, the hilt of waisted form and carved with large foliate motifs and floral vines, the end of the pommel with flowerhead, the wood scabbard clad in leather with jade mount to top end carved with floral sprays and suspension loop to one side; the second with single-edged watered steel blade of curving form, the forte of silver-gilt engraved with foliate interlace, the jade hilt carved with floral sprays, the wood scabbard clad in green velvet with repoussé silver mounts to each end the larger 40.3 cm. long(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600


91AN ENAMELLED SILVER-HILTED WATERED-STEEL DAGGER PROBABLY BENARES, NORTH INDIA, 19TH CENTURYthe single-edged watered steel blade of tapering form with flattened spine, the forte decorated in gold koftgari with floral and foliate interlace, the multifaceted silver hilt profusely decorated in polychrome enamels with undulating floral vines, above and below bands of flowerheads, the pomel with six-petaled rosette surmounted by suspension loop, the wood scabbard clad entirely in silk and metal thread cloth 32.6 cm. long

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600


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92 Y

A GOLD-MOUNTED AND ENAMELLED RHINOCEROS HORN-HILTED DAGGER (JAMBIYYA) MOROCCO, LATE 19TH CENTURYthe double edged steel sword of curved and tapering form, the rhinoceros horn hilt of waisted flaring form, the pommel with almond shaped gold mount, engraved and decorated in polychrome enamels with a floral motif, the wood scabbard clad in green velvet and mounted in gold engraved and decorated in polychrome enamels with floral and foliate motifs, the upper mount with two suspension loops, the lower mount terminating in knop finial 39.5 cm. long

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

Provenance Private UK collection formed in the 1940s and 50s and thence by descent. For a fine gem-set dagger of the same type sold in these rooms see Bonhams, Islamic and Indian Art, 7 October 2014, lot 219.


OTHER PROPERTIES

93A WATERED-STEEL DAGGER DECCAN, CIRCA 1600the double-edged watered-steel blade of flat form widening to mid-section, the grip with several elements, the first of baluster form decorated with spiral bands, the second of multi-faceted form, steel guards to forte and pommel 34cm. long

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

For a similar example see R. Hales, Islamic and Oriental Arms and Armour, 2013, p. 372, no. 920.

94A BRONZE TIGER HEAD SIGNAL CANNON INDIA, PERHAPS DECCAN, 18TH CENTURYof tapering form with long trunnions, the muzzle and breech in the form of tiger heads, a large cast palmette to the chase, the remainder of the barrel engraved with a band of flowerheads and a band containing a lattice filled with circle motifs 20 cm. long

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

95A BRONZE CAST OF A SRI LANKAN DAGGER (PIHA KAETTA) SIGNED “F. BARBEDIENNE” FRANCE, 19TH CENTURYthe broad single-edged blade with fuller along the back edge decorated with silver-overlaid arabesques, the forte covered with cast and pierced silver panels, the carved hilt with silver-pommel cap, the wood scabbard with similarly decorated mounts and blue velvet cover 43cm. long

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

The F. Barbedienne foundry was started in Paris in 1838 by Ferdinand Barbedienne and Achille Collas, who was the inventor of a machine that mechanically reduced statues. The firm, called Collas & Barbedienne, specialized in reproductions of antique and modern sculpture and eventually employed about 300 artists and workers, who produced as many as 1,200 subjects, including the work of Michelangelo, Luca della Robbia and Antoine-Louis Barye, as well as making busts of historical notables. By 1850 the firm was also producing a wide range of decorative objects—chandeliers, vases and furniture. Between 1850 and 1854 the firm provided furnishings in the Renaissance Revival style for the Hôtel de Ville, Paris. From 1851 the firm, by then known as Barbedienne, received numerous medals at the international exhibitions, including medals in three different classes at the International Exhibition of 1862 in London.

9394

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96 Y

A GOLD KOFTGARI STEEL-MOUNTED RHINOCEROS HIDE SHIELD INDIA, 19TH CENTURYof convex form with everted rim, the tan coloured hide mounted with six steel bosses decorated in gold koftgari with floral and foliate motifs, the reverse with steel hoops, leather straps and crimson velvet pads 46 cm. diam.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

97A PAINTED LEATHER SHIELD (DHAL) RAJASTHAN, 19TH CENTURYof convex form, decorated in polychrome and gold paint with black outline with four lions fighting with other animals and a central roundel containing a sun with a human face, the border with a band of animals, mounted with four repoussé silver bosses 56 cm. diam.

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

96

95

97


98A KHMER BRONZE SEATED FIGURE OF BUDDHA MUCHALINDA CAMBODIA, LATE 12TH/ EARLY 13TH CENTURYcast, seated cross-legged in dhyanamudra on the coils of Muchalinda, beneath the seven-headed canopy of the serpent king, wearing a short loincloth around his waist, adorned with elaborate jewellery, a crown or headdress surrounding his hair piled high and surmounted by a conical ushnisha, his face with serene expression, downcast eyes and hands held in his lap holding a stupa or fruit 32.5 cm. high (approx.)

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Provenance Private UK collection. Formerly in a UK collection formed in the 1980s. During a storm which raged for a whole week Muchalinda, the snake-like king of the nagas, rose from the earth and coiled his body to form a throne for Buddha and flared his great hood to shelter him. For a similar example sold at Christie’s see Indian and Southeast Asian Art, 20 March 2002, New York, lot 11.

99A KHMER BRONZE STANDING FIGURE OF AN ADORNED BUDDHA CAMBODIA, 12TH CENTURYstanding in sampada with his hands in vitarkamudra and incised chakras on his palms, dressed in a robe hanging gracefully from his forearms with a slightly curved edge and tapering hems, wearing elaborate belt, ornate necklaces and bracelets, elaborate earrings in elongated earlobes, the face with serene expression, hair piled high and secured under tiara, on later stand 18.4 cm. high

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Provenance Purchased by the present owner’s godfather from Spink & Son in 1984; formerly in the collection of Baron Freddy Rolin.

98 99

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100 W

A CARVED RELIEF SANDSTONE PANEL NORTH OR CENTRAL INDIA, 8TH/9TH CENTURYcarved in high relief, the columns divided into niches, the left column depicting four seated matrika goddesses, with boar-headed Varahi and the fearsome Chamunda identifiable in the second and fouth niches; the central column with a gana or attendant holding up a seated female deity, a yakshi or river goddess below; right column with seated Ganesha above, a male deity possibly Shiva as Gajasamhara slaying an elephant, and a vyala below 68 cm. high (approx.)

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Provenance Private UK collection since circa 1960 The matrikas are ‘mother goddesses’ usually depicted as a group of seven - Indrani, Brahamani, Maheshvari, Kaumari, Varahi, Vaishnavi and Chamunda. They embody the energies of male gods and were created by Devi, the Great Goddess, to combat demons. They are usually seen on temple doorways, depicted with a form of Shiva and his son, Ganesha. For further discussion, see V. Desai, D. Mason (ed.), Gods, Guardians and Lovers: Temple Sculptures from North India A.D.700-1200, New York, 1993, pp. 246-247, no. 62.

101A BRONZE FIGURE OF VISHNU NORTHEASTERN INDIA, PALA PERIOD, 9TH/10TH CENTURYstanding on a raised circular lotus base over a rectangular stepped plinth, his mount Garuda seated at the centre of the plinth and two female devotees on the left, flanked by two diminutive figures of Shridevi and Bhudevi on smaller lotus bases, his principal right hand raised in abhayamudra, a conch in his principal right hand, his upper hands carrying a wheel and a club, backed by a large oval nimbus 20 cm. high

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Formerly in the collection of Simon Digby.

100

101


102A RARE AND FINE MOTHER-OF-PEARL AND BLACK LAC OVERLAID WOOD TRAY GUJARAT, LATE 16TH/ EARLY 17TH CENTURYof circular form with raised rim, the surface decorated with elegant mother-of-pearl inlay on a black lac ground with a central roundel featuring a scene in a pavilion with courtly figures and attendants, surrounded by winged figures, large trees and birds, all on a background of very fine scrolling floral arabesques, the reverse painted in white, black, green and gold on a red ground with a central shamsa surrounded by lobed cartouches containing floral sprays; old labels to reverse with pen inscriptions, the first 356, the second Ca[..] Leyland[?] 43.5 cm. diam.

£60,000 - 80,000 €82,000 - 110,000 US$93,000 - 120,000

Provenance Private UK Collection. Gujarat is first mentioned as the centre of mother-of-pearl work in 1502, when the King of Melinde, on the East Coast of Africa, presented Vasco de Gama with a ‘bedstead of Cambay, wrought with gold and mother of pearl, a very beautiful thing’ (The Three Voyages of Vasco da Gama, London, 1869, quoted in Simon Digby, ‘The mother-of-pearl overlaid furniture of Gujarat: the holdings of the Victoria and Albert Museum’, in Robert Skelton et al (ed.), Facets of Indian Art, London 1986, p. 215). Gujarati mother-of-pearl work comprises two types of work: items either made of or covered in mother-of-pearl, and items consisting of a wooden article covered in a dark mastic and inset with pieces of mother-of-pearl, of which this tray is an example.

The production of this second group is generally thought of as the speciality of Northern Gujarat, particularly around Ahmedabad, Cambay, Surat and further west in Thattha. This attribution is largely due both to European travellers’ accounts and to Abu’l Fazl’s Ain-i Akbari (1595), the celebrated historical work on the Akbar period written around 1595. That work refers to the province of Ahmedabad as a centre for exports including articles worked with mother-of-pearl. This geographical attribution is further evidenced by the survival of mastic-inset and mother-of-pearl decorated domed cenotaph canopies which survive in the tombs of revered Sufi Shaykhs including Shah ‘Alam at Rasulabad and Shaykh Ahmad Khattu at Sarkhej, both close to Ahmedabad and erected between 1605 and 1608 (Amin Jaffer, Luxury Goods from India: The Art of the Indian Cabinet-Maker, London 2002, p. 24). The decoration of the second group most frequently takes the form of vegetal or geometric designs. Figural decoration, as seen on our tray, is rarer. One example is in the Victoria and Albert Museum (I.S.24-1966, published in Digby, op. cit., figs. 9-10, pp. 219-20). Another figural example is a panel formerly in the Jules Boilly collection (Digby, op. cit., p.221). A chessboard in the Bayerisches Nationalmuseum, Munich (Inv. no. R 1099) features hunting scenes with riders on horseback, tigers, elephants and a rhinoceros. Mother-of-pearl trays are specifically mentioned as being delivered to the ladies at Kabul, listed among the spoils of the Lodi Sultans of Delhi catured by the Emperor Babur in 1526 (G. Begam, Humayun-nama, ed., London, 1902, p. 13, translated. p. 95; cited in Digby, op. cit., 1986, p. 215).

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Two shields both attributed to the 16th century - one in the Armoury of the Topkapi Museum and another in the Museo Nazionale del Bargello - have figural designs closest to our tray. The Topkapi shield (Les Tresors de Turquie, Skira, Geneva, 1966, p. 235) dated to circa AD 1525 features very Persian-looking figures wearing turbans engaged in hunting scenes and figures paying homage to an enthroned ruler, leading scholars to attribute this shield initially to Iran. The Florence shield, attributed to the mid-16th century, shows courtly scenes, such as figures feasting and hunting as well as isolated figures (Bg M 787, published in Islam: specchio d’Oriente, Florence 2002, no. 12, pp.54-55). All of these share similar vegetal ornament in the background, with dense comma-shaped leaves springing from curling stems. The most striking feature of our tray is the presence of a series of angels or winged figures carrying birds or vessels, which do not appear on any other recorded example of mother-of-pearl inlaid works. These angels show Safavid, Indian and European influence. Parallels for these figures may be found in both Indian and Safavid manuscripts and miniatures and on architecture of the 16th and 17th century such as the Kala Burj in Lahore. A series of angels adorns the corner shields of the painted pavilions of Nur Jahan in the Ram Bagh at Agra dated variously to the mid-16th to early 17th century (see E. Koch, ‘Notes on the painted and sculptured decoration of Nur Jahan’s pavilions in the Ram Bagh at Agra’, in Facets of Indian Art, London, 1986, pp. 51-65). These angels wear costumes varying from a Safavid short sleeved overcoat worn over a long undergarment - the typical outfit of a Safavid peri - and the local costume of the choli, ghaghra and dopatta, very similar to the range of costumes worn by our angels. A winged figure at Agra is shown holding a peacock, almost identical to three of our winged figures who are shown in Safavid dress holding peacocks. The pavilion also features cherubs with a mixture of European and Mughal features. This painted decoration provides the most striking parallel for the decoration on our tray and provides a general date. It also indicates the decorative scheme of our tray may have been intended for an Indian patron rather than for export to royal

patrons in Europe, the Near East and Turkey as most of the mother-of-pearl inlaid items seem to have been. The painted reverse of our tray is characteristic of a group of mother-of-pearl inlaid caskets of the 16th and 17th centuries all of which have their interiors and bottoms painted red (Jaffer, op. cit, 2002, p. 24). The cartouche and shamsa decoration is related to manuscript illumination and bookbinding techniques of the Mughal and Safavid periods. The inspiration for Gujarati mother-of-pearl production remains unclear. A suggestion is that East Asian examples, such as Korean sutra boxes (caskets with bevelled lids, some attributed to the 12th-13th century), were imported to Western India, where the technique was emulated by local craftsmen. The fragile nature of the medium has meant that only around 30 recorded examples survive, now almost entirely in museums. This unique tray represents an extremely important addition to this corpus.

102 (detail)

102 (reverse detail)

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102 (reverse)

102 (details)


103A MOTHER-OF-PEARL-HILTED DAGGER GUJARAT, 17TH CENTURYthe straight watered-steel blade with central raised ridge, the hilt set with mother-of-pearl plaques of chevron design, each held in place by three brass pins, two silver floral discs ornament one side of the pommel while a single stylised flower decorates the other, the associated wood sheath with silver mount with gold damascene decoration and covered with a silk textile with pomegranate motif 32 cm. long(2)

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

In the sixteenth and seventeenth centuries, the accounts of the Jesuit missionaries and foreign travellers often mention mother-of-pearl objects manufactured in Gujarat. These objects were usually intended for the Ottoman and Portuguese markets, but were also greatly appreciated in the Mughal court. Comparative examples are in the Musee Guimet, Paris (MA 6825) and published in Simon Ray, April 2007, no. 26 both formerly in the collection of Krishna Riboud. See also Thierry-Nicolas Tchakaloff et al, La Route des Indes: Les Indes et L’Europe: échanges artistiques et héritage commun, 1650-1850, 1998, p. 106, no. 33; Simon Digby, ‘The mother-of-pearl overlaid furniture of Gujarat: the holdings of the Victoria and Albert Museum’, in Robert Skelton, Andrew Topsfield, Susan Stronge and Rosemary Crill (eds.), Facets of Indian Art, 1986, p. 215.

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104AN INDO-PORTUGUESE PARCEL-GILT SILVER GOA STONE HOLDER AND STONE GUJARAT, LATE 17TH CENTURYmade in two hemispherical halves, the holder is formed of two layers, the outer layer of silver openwork and hatched leaves, and the inner of hammered silver, the two joined by a pin at each apex decorated with chased six-petalled rosettes 7.6 cm. high; 144g.(3)

£10,000 - 15,000 €14,000 - 21,000 US$15,000 - 23,000

The openwork on this example exhibits fine craftsmanship as the design is not contained within registers but is rather carried out within large lobed elements which seem to disappear within the complexity of the foliated scrollwork. A very similar example is in the Wellcome Collection, London.


105 W

A BONE-INLAID CABINET GUJARAT OR SINDH, CIRCA 1700rectangular with removable front panel with iron lock and key, the front panel removing to reveal a series of drawers, profusely decorated to all sides and interior with bone inlay with geometric patterns consisting of lozenge motifs decorated with engraved concentric circles, the exterior panels with borders of flowerheads 51 x 30 x 37 cm.

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

106 W Y Ф

AN IVORY-INLAID CABINET GUJARAT OR SINDH, EARLY 17TH CENTURYof rectangular form with hinged fall front opening to reveal a series of drawers within, an iron hinged handle to each side, profusely decorated in ivory inlay with trees issuing from urns with perching peacocks and other birds, lions seated atop their prey and figures of falconers, the interior with floral sprays and birds, the reverse with a cartouche with issuing flowers within a larger cartouche 54 x 39 x 35.5 cm.

£5,000 - 7,000 €6,800 - 9,600 US$7,700 - 11,000

A similar fall-front cabinet was sold at Christie’s Art of the Islamic and Indian Worlds, 26 April, 2012, lot 317. For a discussion of the type, see Amin Jaffer, Luxury Goods from India, London 2002, pp. 44-45.

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106

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107AN INDO-PORTUGESE PARCEL-GILT SILVER GOA STONE HOLDER GUJARAT, LATE 17TH CENTURYmade in two hemispherical halves, the holder is formed of two layers, the outer layer of silver openwork and hatched leaves arranged in registers, and the inner of hammered silver gilt, the two joined by a pin at each apex decorated with chased rosettes 7.2 cm. high; 137g.(2)

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

The holder most likely contained a Goa stone, ‘a concoction of Bezoar, Ambergese, Pearl, unicorn horn, coral and such other of the greatest cordial preservatives.’ Goa stones were believed to be the ‘corroborates and renewers of strength and youth’, as well as being antidotes for poison. The stones were made by a group of Portuguese Jesuits living in Goa and were used instead of bezoar stones, which were becoming scarce by the 17th century. With the value of the Goa stones often equalling their weight in gold, it is understandable why such elaborate cases were made to contain them. For comparison see the British Museum: 1978,1002.804 and the Science Museum (London) A66178.

108

108AN INDO-PORTUGUESE SILVER FILIGREE CASKET PROBABLY GOA, WESTERN INDIA, 17TH CENTURYof rectangular form, on four feet in the form of silver bosses (possibly later) with a raised cusped hinged lid, the clasp worked as a rosette, body and lid with a tight filigree decoration consisting of an intricate ground of scrolling foliate motifs, body with rectangular segments comprising pattern of curved scrolling tendrils, lid with paisley forms 11.5 x 15.8 x 10 cm; 800 g.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

A comparable example sold at Christie’s King Street, Islamic Art, 11 October, 2005, lot 78. A filigree casket in the Museum Nacional de Arte Antiga in Lisbon (inv.114), with cover of very similar form, has been dated to the seventeenth century (Mughal Silver Magnificence, exhibition catalogue, Brussels, 1987, no. 225, p. 152).

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108


109A MUGHAL CUT AND VOIDED VELVET PANEL INDIA, MID 17TH CENTURYsilk, cut and voided velvet, with continuous floats of flat metal thread, of rectangular form depicting alternating rows of seminaturalistic individual roses and lilies, on wooden stretcher 140.1 x 36.2 cm.; 148.3 x 42 cm. (including stretcher)

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

Exhibited Mughal India: Art, Culture and Empire, British Library London, 9 November 2012-2 April 2013 There is a comparable Mughal velvet panel, with a similar pattern of flowers, in the collections of the Metropolitan Museum in New York. See, M.D. Ekhtiar et al, eds., Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art; New York, 2011, pp.370-71, no.260. This panel is made of two fragments which fit together perfectly - the upper fragment from the dealer, Joseph Brummer, in 1930 (inv.no. 30.18), and subsequently the lower fragment in 1991 from the Alice and Nasli Heeramaneck Collection (inv.no. 1991.347.2). An additional fragment of the same fabric is in the Textile Museum in Washington D.C., acquired from Nasli Heeramaneck in 1949 (inv.no. OC6.150).

For a variation of the type in the Chester Beatty Library bearing an inventory inscription dated to February 1648 see Ellen S. Smart, ‘A Preliminary Report on a Group of Important Mughal Textiles’, Textile Museum Journal 25, 1986, p. 19, fig. 23.

110AN EMBROIDERED SUMMER CARPET (KANTHA) GUJARAT, SECOND HALF OF 17TH CENTURYsilk embroidery on cream coloured cotton ground, with two rows of pink and cream floral blooms on blue scrolling foliate tendrils, flowerheads in between, within a narrow border comprising an elegant scrolling tendril 360 x 110 cm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

109

110

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111 W Y Ф

A MUGHAL SANDALWOOD AND HARDWOOD CABINET WITH GEORGE II DOORS AND STAND INDIA AND ENGLAND, 17TH AND 18TH CENTURYthe Indian cabinet with eleven carved drawers with ebony and ivory inlaid drawer divisions on square legs, with brass carrying handles to the sides, adapted in the mid-18th century with the addition of fruitwood doors and stand 149.5 x 88.5 x 44.5 cm.

£8,000 - 10,000 €11,000 - 14,000 US$12,000 - 15,000

Provenance John Morant, Brockenhurst Park, Hampshire

112A MUGHAL CALLIGRAPHIC CUERDA SECA POTTERY TILE NORTH INDIA, 17TH CENTURYof square form, decorated in cobalt blue and white with black outline with calligraphic elements including a tashdid and nokhte and some partial vegetal motifs to one corner 19 x 18.6 cm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

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112


113AN ENGRAVED BRONZE TALISMANIC PLAQUE DECCAN, 17TH/ 18TH CENTURYof circular form, engraved to one side with fifteen lines of inscription, to the other with a magic square and inscriptions, the edges drilled with three holes, the top with possibly later mounted handle of baluster form fitted with four rotating dragon head elements 20 cm. max.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: on one side, Qur’an, sura II, al-baqarah, verses 255 and 256, followed by the call to God to bless The Fourteen Innocents; on the other side, the nada ‘ali quatrain, Qur’an, sura LXVIII, al-qalam, verses 51 and 52, as well as magic numbers.

114A SILVER-OVERLAID ALLOY BIDRI HUQQA BASE BIDAR, SECOND HALF OF THE 18TH CENTURYof bell-shaped form, decorated in silver overlay with a band of floral sprays, above and below bands containing floral vines and geometric motifs, the multifaceted neck with further floral sprays 17cm. high

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

The huqqa base is decorated in the reverse or aftabi technique, where the background is in silver overlay and the motifs have been cut through to reveal the black base metal underneath. For a similar huqqa base see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.237, ill.398.

113 114

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115AN OPENWORK BRASS PROCESSIONAL STANDARD (‘ALAM) SECTION DECCAN, INDIA, DATED AH 1203/AD 1788of square form with sloping roof, a circular opening at the top, each corner supported with a pillar-shaped shaft with a bud finial, the sides with openwork decoration composed of a square central panel bearing inscriptions within a floral border, a narrow border of crenellations above, the roof with inscription-filled cartouches flanked by cypress trees and inscription-filled borders 22 x 17 x 17 cm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Inscriptions: Qur’an, sura CVIII, al-Kawthar and sura CIX, al-Kafirun, and invocations to God. On the sides, a repetition of: ‘O Muhammad!’

116AN OPENWORK BRONZE PROCESSIONAL STANDARD (‘ALAM) DECCAN, 17TH/ 18TH CENTURYof drop-shaped form decorated in openwork with a central panel containing inscriptions surrounded by a border of inscriptions, the border with six cast dragon heads, surmounted by a crest consisting of four tapering elements, mounted 52.5 x 46 cm.

£5,000 - 7,000 €6,800 - 9,600 US$7,700 - 11,000

Inscriptions: in the centre, the names, ‘God, Muhammad, ‘Ali’; in the border, Call to God to bless Muhammad and the twelve Imams; on the back as the top, invocations to God; in the borders, Qur’an, chapter II (al-baqarah), verse 255, in the band under the openwork, remains of an inscription in Persian, .... marjan shah-e vali ra hast bandeh/......, ‘.... Marjan is the salve of Imam ‘Ali ....’

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116


117A SILK LAMPAS PANEL ASSAM, 18TH CENTURYwoven silk, rendered in yellow, white and black on red ground, with multiple registers of yellow and white flowers alternating with rows depicting elephants and mythical yali figures 68 x 170 cm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

This silk lampas belongs to a rare group of Vaishnavite ritual cloths woven in Assam. According to tradition, these cloths were used to wrap the holy Bhagavata Purana scripture which was kept on top of a multi-tiered throne, with the excess length flowing down the steps of the throne. For an in-depth discussion on the subject, see R. Crill, ‘Vrandavani Vastra - Figured Silks from Assam’, Hali, vol. 62, April 1992. More recently, the British Museum have exhibited and published their large hanging from the Younghusband Expedition (inv. 1905-1-18-4). This nine metre hanging consists of twelve silk lampas panels from Assam, some dating to the 17th Century.

118A CHINTZ PALAMPORE FOR THE EUROPEAN MARKET DEPICTING A TREE OF LIFE COROMANDEL COAST, SOUTH INDIA, LATE 18TH/ EARLY 19TH CENTURYcotton, resist-painted and mordant-dyed, on cream ground, the decoration consisting of two central entwined flowering tree bearing large exotic blooms, rising from a rocky mound with quadrupeds depicted in twos and threes, framed with an elegant scrolling tendril, wide borders on three sides with scrolling floral vines, missing top border 258 x 214 cm.

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

An earlier comparable example, dated to circa 1770 - 80, is in the collections of the Victoria and Albert Museum in London (IM.226-1921). According to R. Crill, the trees seen on palampores exhibit distinctly Chinese influences in the third quarter of the 18th century as a result of the vogue for Chinese wallpapers with similar designs (R. Crill, Chintz: Indian Textiles for the West, London 2008, pg.21) The word palampore is an Anglicisation of palang-posh, the Indian word for bedcover. It also describes the principal use of these large chintz fabrics, which were made to be used on a bed or hung behind it. Initially made for domestic markets, such as the Golconda court, and for export to South-East Asia, chintz textiles were first exported to Europe in the early 1600s. The period from the early 17th century to the early 19th, witnessed a rapid rise in popularity for chintz textiles being exported from India, used first for home furnishings and later for fashionable dress. Although printed and painted cottons were being made in several centres in central and south-east India, those from the northern part of the Coromandel Coast have always been acknowledged as the finest. (Ibid., pp.8-10, 14-18)

117

118

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119A LARGE SILK EMBROIDERED COVERLET MADE FOR THE PORTUGUESE MARKET BENGAL, EARLY 19TH CENTURYpastel green plain weave silk embroidered with floss silk chain stitch in yellow, pink, dark rose and white; decorated with an overall design of stylised leaves and flowers, surrounded by a similarly decorated wide border 216 x 297 cm.; (including fringe) 260 x 362 cm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Another coverlet of this type on a dark blue silk ground is in the Museu Nacional de Arte Antiga in Lisbon (inv. no. 837). These particular trade embroideries, made in Bengal for the Portuguese market, are usually profusely decorated in brilliant colours with floral and foliate decoration around a central coat of arms or escutcheon where the Indian embroideries often interpret the original European design. Earlier 17th Century examples include figures in contemporary Portuguese dress as can be seen in an embroidered bedcover with personifications of the Five Senses in the Philadelphia Museum of Art (acc.no. 1988-7-4).


120AN ENAMELLED SILVER HUQQA BASE LUCKNOW, EARLY 19TH CENTURYbell-shaped, with slightly flaring ridged neck, decorated with dark blue, green and deep red enamels, the body with oval medallions comprising birds amidst floral decoration, interspersed with birds perched on hanging floral vines above peacocks, bands of scrolling floral vines to shoulder and base within narrow borders of diamond-shaped motifs, similar decoration to neck, traces of original gilding 19 cm. high; 19.8 cm. diam.; 1260 g.

£7,000 - 9,000 €9,600 - 12,000 US$11,000 - 14,000

For comparable examples see Stephen Markel and Tushara Bindu Gude, The Art of Courtly Lucknow, Los Angeles County Museum of Art exhibition catalogue, 2010, pp. 201 and 209, nos. 90 and 83; and another sold at Christie’s, Art of The Islamic & Indian Worlds, 7 April, 2011, lot 289.

121AN ENAMELLED SILVER BEAKER LUCKNOW, EARLY 19TH CENTURYof slightly flaring form, decorated in blue, green and yellow enamels depicting hunting scenes, quadrupeds and birds amidst scrolling foliage within narrow borders of diamond shaped motifs, a frieze of large stylised leaves around base, a band of scrolling floral vine around rim, traces of gilding to inside and to base 9.5 cm. high; 179 g.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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122 ≈A MUGHAL GEM-SET JADE STEM CUP INDIA, 18TH CENTURYof white carved jade, the delicate rounded cup rising from a circular splayed foot and elongated stem, the exterior of the cup decorated with a frieze of stylised floral sprays set with diamonds, emeralds and rubies in gold, interspersed with emerald-set leaf motifs, a band of gold below the rim, the foot with ruby-set floral buds on short gold stems 5 cm. high

£10,000 - 12,000 €14,000 - 16,000 US$15,000 - 19,000

A stem cup of similar form, set only with rubies around the foot, is in the Guthrie Collection in the Victoria and Albert Museum in London (inv. no. 02546 IS). For another gem-set, white jade cup of similar form, see ‘Treasures of the Courts’, Spink & Son, London, 1994, pg. 25, cat.no.17.


123A FINE GEM-SET ENAMELLED GOLD TURBAN ORNAMENT (JIGHA) NORTH INDIA, 18TH CENTURYset with diamonds, carved emerald and pink tourmaline in gold, on a lac core; the central section in the form of a rosette set with a pink tourmaline of octagonal outline and polished surface, surrounded by diamonds; surmounted by a floral bud, set with a drop shaped carved emerald, with diamond-set leaf motifs and surround; the curved tapering aigrette above comprising a line of graduated diamonds with a diamond-set border on either side in pointed leaf settings, terminating in a diamond-set flower head with a pearl suspension; the reverse with elegant gold floral enamelled decoration on a green ground, a receptacle for a feather (kalgi); hinged enamelled stem (tana) below the gem-set rosette with similar green and gold enamelling 17.2 cm. long; 68.2 g.

£30,000 - 40,000 €41,000 - 55,000 US$46,000 - 62,000

Provenance Private UK collection; By repute given by Maharaja Ranjit Singh (1780-1839) to Maharaja Sahib Singh of Patiala(1773-1813) in 1808, thence by descent The jigha is thought to have been on the turban of Maharaja Ranjit Singh when he met Maharaja Sahib Singh of Patiala in November 1808 and they exchanged turbans as a sign of conciliation. In the summer of 1799, Maharaja Ranjit Singh had taken over Lahore. In the decade that followed, he set about consolidating the Sikh Empire. The north western and north eastern frontiers of the Punjab no longer posed a threat and he had crossed the Sutlej twice with his army. He had been proclaimed as sovereign of the Punjab, although not in the eyes of the British and with some reluctance by the chiefs of the Cis-Sutlej states, including Patiala. In 1808, the British Government received intelligence that the French were planning the conquest of Kabul and Punjab. Governor-General Wellesley sent a young Charles Metcalfe as his envoy to conduct negotiations with Maharaja Ranjit Singh in Lahore. In September 1808, Metcalfe met the Maharaja and presented him with a treaty for joint action against the French in the event of an invasion. In return, Ranjit Singh asked for his suzerainty

over the whole Sikh nation to be recognised, including territories south of the Sutlej. He expressed willingness to side with the British in the event of a French invasion but his condition was not accepted by Metcalfe. Unwilling to accept British control over Sikh territories south of the Sutlej, Ranjit Singh set off on a triumphant march, taking over hesitant Phulkian states, starting with Faridkot, Malerkotla, Shahabad, Ambala, and then reached Patiala. At Patiala, Maharaja Sahib Singh, who had initially asked for British protection, asked to be forgiven. Ranjit Singh overlooked his past recalcitrance. They embraced and exchanged turbans. Maharaja Ranjit Singh’s treasury was fabled as the greatest and largest treasure ever found when the British took control of the court in Lahore between 1849 and 1850. The most famous and well-known jewels were taken away as gifts for Queen Victoria, including the Koh-i Noor diamond and the Timur ruby. Turban ornaments formed one of the most important symbols of power at the Mughal court. The jigha was worn exclusively by the emperor, his family and entourage. It was a symbol of royalty or royal favour and the presentation of a jigha indicated imperial approval. This elaborate creation evolved from the earlier Mughal practice of pinning a heron’s feather or kalgi to the front of the turban. Attaching a pearl to the end of the plume so that it curved backwards gracefully was a style introduced by the Mughal Emperor Jahangir. During Emperor Shah Jahan’s reign the simple plume underwent a transformation into an elaborate gem-studded creation incorporating some of the treasury’s finest jewels. As befits a symbol of power and prestige, the turban ornament was made of valuable materials, with gems in kundan settings. Enamelling was used to decorate the back of turban ornaments, probably from the mid-17th century onwards. A significant feature of the ornament was the plume of heron feathers placed in the small socket (parkhane) at the back of the jewel. Early turban ornaments at the Mughal court comprised a plumed device (jigha) without a horizontal element. However, there were variations in the form since the time of Akbar. Earlier jighas have a long straight stem protruding below the rosette that was used for securing the piece into the folds of a turban. Known examples of straight-stemmed jighas include one in gold in the Victoria and Albert Museum, London (IM 240-1923), one in jade at the State Hermitage, St Petersburg (VS-443). There are two examples in the Al-Thani collection. They all date from the late 17th to the early 18th centuries. An 18th century example sold in these rooms, Islamic and Indian Art, 24 April 2012, lot 225. It has been suggested that the turban ornament retained the jigha form during the first three-quarters of the 18th century, with a single plume of jewels on a long stem. A double portrait of the Maratha Peshwa Madhav Rao II Narayan (reg.1782-95) and his minister Nana Fadnavis, painted by James Wales in Pune in 1792, shows both figures wearing a separate jigha above a sarpatti, and a horizontal jewelled band beneath. This style appears to be a prelude to the combination of the two forms into a single, larger ornament. The development of turban ornaments and jewels throughout India broadly followed the Mughal model during the 18th century. The scale and impact of turban ornaments grew in the early 19th century, the combined jigha and sarpatti expanding to include multiple rosettes hinged together. Literature A. Jaffer (ed.) (with contributions from M.Spink, R. Skelton), The Al Thani Collection: Beyond Extravagance – A Royal Collection of Gems and Jewels, New York, 2013 H. Singh (ed.), The Encyclopaedia of Sikhism, Vol. IV, Patiala, 1998 K. Singh, History of the Sikhs, Vol. I, 1469-1839, Delhi, 1977 U. Bala Krishnan, Indian Jewellery: Dance of the Peacock, Mumbai, 2001

(reverse)

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124 Y Ф

A CARVED IVORY PENBOX WITH THE NAME OF KHUDA-BAKHSH DELHI, 19TH CENTURYof rectangular form on four feet, the lid opening to reveal two partitions, the larger with removable tray, the wood interior clad entirely in ivory panels profusely carved with cartouches containing floral sprays and foliate motifs, the central panel to the lid with inscription-filled cartouche, the borders with friezes of carved foliate motifs, the base with painted bone panels and inlaid bone cartouches 29 x 8 x 7.8 cm.

£5,000 - 7,000 €6,800 - 9,600 US$7,700 - 11,000

Inscriptions: a Persian couplet in nasta’liq, ey to bashi dar jahan sar-daftar-e ahl-e qalam marja’-e arbab-e danish mafkhar-e ahl-e qalam, ‘O you, who is the frontispiece of literary men in the world, The refuge of masters of knowledge and the boast of literary men!’; in the small panel below, ya khoda-bakhsh, ‘O Khuda-bakhsh!’. The Khuda-bakhsh referred to in the inscription may be Khuda-bakhsh Bahadur Khan (1842-1908), the founder of the Khuda-bakhsh Oriental Public Library in Patna.

125A LARGE SILVER SEAL OF COLONEL VERE WARNER HUSSEY (D. 1823) NORTH INDIA, DATED AH 1205/AD 1790-91of multifaceted domed form with compressed spherical finial, engraved to each facet with foliate vines, the circular face with five lines of inscription in nasta’liq script, the border with a band of circle motifs 11.7 cm. long

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: ‘The brilliance of the government (lami’ al-dawlah), the thunder of kingdom (ra’d al-mulk), Colonel Vere Warner Henry Bahadur, the lightening at war (barq jang), the devotee of the Warrior King, Shah ‘Alam, 1205 [regnal year] 33 (1790-91)’. Lieutenant-Colonel Vere Warner Hussey embarked for Bengal in 1770 having been appointed to the artillery. Following a severe wound, received in the Carnatic under the command of General Sir Eyre Coote, he was appointed by Warren Hastings as commissary of ordnance and stores to the Artillery in the province of Benares. He was also put in charge of the garrison at Chunar, where all military boats were placed under his charge. In 1785 he returned to Europe on furlough where he was promoted to Major in 1786. He returned to India in 1788 and became Lieutenant-Colonel in 1790, the same year in which this seal was made. In 1797 he succeeded to the command of the Bengal artillery, but returned to England in 1799 where he was transferred to the retired list in 1803. He died in 1823. It is possible that the name Henry was used on the seal instead of Hussey because the engraver who made the it was more familiar with transliterating the former into Persian.

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126 Y Ф

A SILVER THREE-PIECE TEA SERVICE BY T.P.R. & CO. WITH ASSOCIATED TRAY BOMBAY, LATE 19TH CENTURYcomprising a teapot, sugar bowl and cream jug of oval form, on bun feet, chased with a band of Indian deities within cusped medallions surrounded by scrolling foliage, the handles modelled as elephant heads with long trunks, the teapot with hinged lid surmounted by finial in the form of a figure of Shiva seated on an elephant, the handle with ivory insulators, each with maker’s mark ‘T.P.R. & Co., Bombay’ to base, the sugar bowl and cream jug with gilt interiors; the tray of rectangular form with conforming handles, chased with an elaborate border of village musicians and temples the teapot 15.5 cm. high, the tray 53.8 cm. wide (including handles); 2960 g. (total weight)(4)

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Provenance Maharani Narinder Kaur, nee Alice Villiers (1904-1984), third wife of Maharaja Paramjit Singh of Kapurthala (1892-1955)

127A REPOUSSÉ SILVER CHINAR LEAF TEA SET KASHMIR, LATE 19TH CENTURYcomprising a tray, a teapot, cream jug, sugar bowl and associated second sugar bowl, decorated in repoussé with an interlaced design consisting of large chinar leaves, the teapot with wood handle the tray 34 x 26.5 cm.; 1484g. (total weight)(5)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

For a dish of a similar type see Vidya Dehejia, Delight in Design, Indian Silver for the Raj, 2008, no. 65 p. 160.

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128A STUDY FOR A SILVER REPOUSSE MIRROR, FROM THE WORKSHOP OF OOMERSI MAWJI BHUJ, KUTCH, LATE 19TH CENTURYpencil on paper, stamped Oomersee Mawjee/Silver Smith/Bhuj Cutch 315 x 175 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

For a discussion of a recently-discovered group of three hundred OM drawings, see V. Dehejia, ‘A Cache Uncovered: Workshop Drawings of Oomersee Mawjee & Sons of Kutch’, in V. Dehejia (ed.), Delight in Design: Indian Silver for the Raj, 2008, pp. 38-47, in particular p. 42, fig. 8 for a design for a mirror, and p. 43, fig. 11 for a design for a tray.

129A STUDY FOR A SWEET DISH, FROM THE WORKSHOP OF OOMERSI MAWJI BHUJ, KUTCH, LATE 19TH CENTURYpencil on paper, inscribed Perforated Sweet Dish/Silver 34 Tolas, No. 59.80, and Whole worked as photo, and turn over for side view; verso a design for a footed dish, stamped Oomersee Mawjee/Silver Smith/Bhuj Cutch, pencil on paper 200 x 272 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

See note to previous lot.

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90 | BONHAMS

130A KUTCH REPOUSSÉ SILVER CLARET JUG GUJARAT, LATE 19TH CENTURYof bulbous form on a splayed circular foot with flaring neck, tapering pouring spout and hinged lid with raised floral finial, curved handle composed of two intertwined serpents with alternating patterns of scales and scrolling floral vines, body profusely chased and embossed with dense scrolling foliage, similar scrolling decoration to neck and lid, base with hunting scenes depicting quadrupeds amidst scrolling foliage and a border of acanthus leaves 34.4 cm. high; 1254 g.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

131A SILVER TROPHY CUP AND COVER BY P. ORR AND SONS INDIA, DATED 1899the cup of deep circular form, with two scrolling handles bearing floral and foliate motifs, raised on a circular domed foot with fluted band, with repoussé decoration to body comprising a frieze of elongated leaves around the base, a band comprising a scrolling vine to centre, a border of scrolling floral and foliate motifs to neck, inscribed with ‘INTER REGIMENTAL CHALLENGE CUP’ and in a central circular medallion ‘Peshawar Rifle Meeting 1899 Won By 1st Dorset Regiment’, the separate cover of tapering form with compressed globular handle surmounted by a pair of crossed rifles, the base bearing maker’s mark ‘P. Orr & Sons/ Madras’ 33 cm. high including cover; 1104g.

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

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132A REPOUSSÉ SILVER-GILT FIGURE OF A FEMALE ATTENDANT NORTH INDIA, 19TH CENTURYstanding upright, arms bent, possibly holding a now missing flute, dressed in a sari with scrolling floral pattern, adorned with elaborate jewellery, long braided hair, face with large eyes under arched brows, wearing a turban with floral and paisley designs, on later circular wood base 59.5 cm. high

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

133LENGTH OF ROYAL JAMDANI MUSLIN WITH APPLIED GOLD DECORATION DHAKA, CIRCA 1910cotton, plain weave with supplementary brocading (discontinuous supplementary pattern wefts) in different colours; gold lamella appliqué embroidery; with two additional fragments the largest section 334.5 cm. long(3)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Acquired from Mrs Elaine Brunner (née Howlett), daughter of Richard Howlett, valet to King George V from 1901 until his death in 1936. King George V (1865-1936). Bengal has always been famous for its woven cotton fabrics. Following the conquest of Bengal by the Mughals in the late 16th Century, royal workshops were set up in Dhaka, Sunargaon, Jangalbari and Bazetpuur to supply the court with fine quality muslin. Jamdani was one of two techniques used to decorate the muslin and involved adding discontinuous supplementary cotton wefts during the weaving process. This created designs that appear more dense against the thinned ground of the muslin. The lengths of fabric in the present lot were presented to King George V by Maharaja Chandra Shamsher Jang Bahadur, the Prime Minister of Nepal, whilst he was on a hunting trip to the Tarai Region. They were then given by the King to his valet, Richard Howlett.

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134A COMPANY SCHOOL TERRACOTTA OXEN AND CART WITH FOUR FIGURES KRISHNANAGAR, BENGAL, 19TH CENTURYwith painted wood and terracotta bases, the wood and bamboo cart with clay wheels, the oxen of painted terracotta, the figures of terracotta with cotton clothes, comprising a potter, a fakir and two servants the cart 27.5 cm. long(5)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Highly naturalistic sculptures of this type were made at Krishnanagar, a village near Calcutta, as well as at Hatwa, Datan (near Saran), Muzaffar-pur, Dacca, Burdwan, and later, Lucknow and Poona. Like Company School paintings, these highly naturalistic sculptures prefigure photography and were made as souvenirs for Western patrons as early as the 1820s. Their inspiration seems to have been 18th and 19th Century Neopolitan creche figures. For a village market scene with figures now in the Peabody Museum of Salem, see Stuart Cary Welch, India: Art and Culture 1300-1900, New York 1985, pp. 91-2, fig. 45).

135A LARGE CHINESE PORCELAIN BOWL AND DISH FOR THE INDIAN MARKET CHINA, 19TH CENTURYthe bowl of deep rounded form on a short foot, the dish with wide gently sloping rim, the white ground decorated in polychrome enamel with central inscriptions with the name Muhammad within gilt crescent moons surrounded by floral vines, the rims with a series of cartouches containing floral spray and flowerheads the dish 47 cm. diam.(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: on both bowl and charger, ‘Muhammad Hanif ibn Muhammad’. For a pair of chargers from the same service see Christie’s, Arts & Textiles of the Islamic and Indian Worlds, 10 October 2014, lot 495.

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136 W

A MAGNIFICENT PAIR OF CUT AND OVERLAID RUBY GLASS CHANDELIERS FOR THE INDIAN MARKET BOHEMIA, CIRCA 1900comprising twenty four lights arranged in two tiers, each shade decorated in gilt with Mughal style foliate motifs, the drip trays with pendant glass shards, the central shaft with spherical and ovoid sections with cut quatrefoil motifs, with bead strings running between elements each 275 cm. high(2)

£70,000 - 90,000 €96,000 - 120,000 US$110,000 - 140,000

Glass lights of this type embellished with Mughal-style decorative motifs were commissioned from European glass factories for many palaces of the princely states of India in the late 19th and early 20th century. For a pair of chandeliers of the same type see Sotheby’s, The Indian Sale, London, 23rd May 2006, lot 62.


96 | BONHAMS

A PRIVATE COLLECTION OF CHAUPAR SETS

Chaupar has a long history in India. The game is played by four players on a cloth board of cruciform shape with four arms. There are sixteen gaming pieces, often fashioned from a variety of different materials: lacquered wood, ivory, gold, or silver, and sometimes with enamelled decoration or mounted with precious stones. Each player is allocated a specific colour. The game starts and ends in the centre of the board, the object being to move all four pieces completely around the board in an anti-clockwise direction, as decided by the throw of three long oblong dice or as in the case of poorer players, seven cowrie shells.

As with many other games, chaupar developed from ritual practice and was never invented or constructed for the purpose of amusement or children’s education. Often associated with aristocratic circles, the cloth boards were woven from silk and embroidered with threads of gold and silver. In rural areas, the boards might be fashioned from cotton patchwork squares or coloured glass beads.

The game played an important role in traditional wedding ceremonies. Although the game was not an official part of the dowry, every bride was required to possess a set. In traditional Rajput families the womenfolk played chaupar with the bride during the wedding preparations accompanied with songs, fables and moralising stories.

Aristocratic Rajput couples also played the game as part of their wedding ritual in the temple. After the ceremony the chaupar set would be carefully stored away or put on display.

A late seventeenth century painting held in the collection of the Metropolitan Museum of Art, New York (acquisition no. 57. 185. 2) depicts the deities Shiva and Parvati playing the game of chaupar. The cloth board is spread out on a tiger skin, laid on the ground under the shade of two trees.

Reference:

Topsfield, Andrew., (ed.), The Art of Play: Board and Card Games of India, Marg Publications, 2006

Das Schach und seine asiatischen Verwandten, Ausstellung des Museums für Völkerkunde Dresden, Staatliche Ethnographische Sammlungen Sachsen, Dresden 2008, pp. 36-60.

137 Y Ф

A RARE IVORY CHAUPAR ‘BIRD’ SET GOLCONDA, 18TH CENTURYthe sixteen ivory figural gaming pieces depicting birds or crows and forming four groups stained red, light green, black and yellow, together with a cloth board of green silk, red cotton lining to the reverse, Mandvi, circa 1920, and two ivory pāsa and one bone pāsa each bird 3.6cm high, the board 55cm wide, the pāsa 7.6cm long (20)

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

Provenance Private European collection.

138A SILVER CHAUPAR SET NATHADWARA, EARLY 19TH CENTURYthe sixteen gaming pieces forming four groups with blue, green, light blue and dark red enamelling and foliate and floral decoration, together with a cloth board of mauve or violet silk with silver and gold thread, patterned cotton to the reverse, late 19th century the gaming pieces 3.2cm high, the cloth board 107cm high(17)

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400Provenance Private European collection.

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139 Y Ф

AN IVORY CHAUPAR SET INDIA, 19TH CENTURYthe sixteen ivory gaming pieces forming four groups stained green, red, black and yellow, of ribbed form with painted highlights, together with a silk embroidered cotton board in green, violet and blue, decorated with inset mirrored glass or mica roundels, Mandvi, Kutch, late 19th century, and three 19th century ivory oblong pāsa or die the pieces 3.7cm high, the cloth board 84cm long, each die 5.2cm long(20)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Private European collection. Published Das Schach und seine asiatischen Verwandten, Dresden Museum of Ethnology, Dresden, 2008, p. 44. The sun god Surya was the longest predominating god in the Saurashtra area. Every flower stitched in the centre or pocket of the cloth board is a reminder of Surya- who gives Light. Again, the mirror insets represent Surya- the bringer of Life.

140A GLASS KANEBIS CHAUPAR SET GUJARAT, LATE 19TH CENTURYthe sixteen ribbed glass gaming pieces forming four groups in blue, green, red and transparent glass, together with a silk embroidered cloth board in pink and orange against a grey field, Mahajan community, Bhavnagar District, East Saurashtra, Gujarat,circa 1900-1930, and seven cowrie shells the pieces 4cm high, 3cm wide, the board 105cm wide. (24)

£1,000 - 1,500 €1,400 - 2,100 US$1,500 - 2,300


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141 Y Ф

AN IVORY CHAUPAR SET UDAIPUR, LATE 19TH CENTURYthe sixteen ivory gaming pieces forming four groups part-stained light yellow, red, black and light green, with roundel decoration, each with ball finials to the top, together with a cloth board sewn with decorative beads in green, red, white and brown, cerise silk to the reverse, circa 1920, and three large pāsa or oblong die, 19th century the pieces 2.6cm high, 2.9cm wide, the cloth board 60cm wide,each pāsa 6cm wide(20)

£1,800 - 2,200 €2,500 - 3,000 US$2,800 - 3,400


142 Y Ф

AN IVORY CHAUPAR SET UDAIPUR, LATE 19TH CENTURYthe sixteen ivory gaming pieces forming four groups stained light brown, cerise, black and dark yellow, each with roundel decoration and surmounted with ball finials, together with a blue, yellow and red embroidered cloth board, Radhanpur, circa 1900, and three 19th century ivory oblong pāsa or die, Jodhpur the pieces 4cm high, 3.4cm wide, the board 96cm wide(20)

£1,500 - 2,000 €2,100 - 2,700 US$2,300 - 3,100


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100 | BONHAMS

143A BELGIAN EXPORT GLASS CHAUPAR SET BELGIUM, CIRCA 1900the sixteen gaming pieces in ribbed glass with gilt highlights and forming four groups of green, red, dark blue and transparent glass, together with a cloth board sewn with glass beads in red, yellow, white and green and with a central panel depicting a female figure, Saurashtra, circa 1900, and three black and gilt glass pāsa or oblong die the pieces 4cm high, 3.4cm wide, the cloth board 96cm wide, the pāsa 2.1cm wide(20)

£800 - 1,200 €1,100 - 1,600 US$1,200 - 1,900

Provenance Private European collection. By the beginning of the twentieth century Belgium was one of the largest glass producers in the world and it is estimated that 85% of its production was exported overseas. The Kathi women in Kathiawar (the old name for Saurashtra) concentrated on bead embroidery following their introduction as a result of trade with the West. Many examples of bead-work and bead embroidery can be seen at the palace in Jasdan, near Rajkot.

144 Y Ф

A RARE GOTA WORK CHAUPAR BOARD MANDVI, CIRCA 1910the silver embroidery on a cloth board of green silk, together with a silver chaupar set by Gazdar of Bombay, 20th century, the sixteen gaming pieces forming four groups, each with inlaid upper sections in blue, green, light green and red coloured glass and two 19th century ivory pāsa or oblong die, Jodhpur the pieces 3.6cm in diameter, 2.9cm high, the cloth board 93cm wide, the pāsa 7.6cm wide(19)

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

Provenance Private European collection. Gazdar, the famous jewellery firm, was founded in Bombay by Dinshah and Rusi Gazdar in 1933 and is still located at the Taj Mahal Palace Hotel, Bombay. The firm soon became popular with India’s best families and Hollywood film stars of the day.

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145A SILVER CHAUPAR SET RADHANPUR, 20TH CENTURYthe sixteen gaming pieces forming four groups, each with enamelling in blue, green, light green and cerise with finials above a star-shaped motif, together with the original foil-lined wooded box and a silk embroidered cloth board, in pink, yellow, white and green against a red field, Madvi, Kutch, late 19th century, and three 19th century bone pāsa, Udaipur the pieces 2.5cm high, the cloth board 73.5cm wide(20)

£1,500 - 2,000 €2,100 - 2,700 US$2,300 - 3,100

Provenance Private European collection. Published Das Schach und seine asiatischen Verwandten, Dresden Museum of Ethnology, Dresden, 2008, p. 51.

146 Y Ф

A PAINTED WOOD AND IVORY-MOUNTED CHAUPAR SET GUJARAT, EARLY 20TH CENTURYthe sixteen wooden gaming pieces forming four groups stained red and yellow, each set of four decorated with gilt highlights and floral ivory mounts, together with a yellow, red and blue embroidered cloth board and a set of seven cowrie shells the pieces 4.5cm high, the cloth board 95cm wide(24)

£1,000 - 1,500 €1,400 - 2,100 US$1,500 - 2,300


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102 | BONHAMS

147A GEM-SET GOLD MARRIAGE PENDANT (TALI KUCHCHI) TAMIL NADU, SOUTH INDIA, 19TH CENTURYof tapering cylindrical form, fabricated from sheet gold, with repoussé decoration in the form of concentric registers to top and bottom terminating in diamond-shaped finials, the top register with gem-set floral designs and foliate motifs in open framework surrounding open-ended conical section for suspension 16.5 cm. long; 59.3 g.

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000


This pendant (tali kuchchi), literally meaning stick, is part of the traditional gold marriage necklace (kaluthiru) worn by the Nattukottai Chettiars. The Nattukottai Chettiars are a devoutly Shaivite, prosperous mercantile community of Tamil Nadu in South India. (O. Untracht, Traditional Jewelry of India, London, 2008, pp.158 - 159, ill.284). The kaluthiru is unique to this merchant community. The tali kuchchi is usually incorporated into the kaluthiru after the marriage and is given by the groom’s family as a sign of accepting the bride. For a comparable example in the collections of the National Museum, New Delhi, (accession no. 89.1001), see Usha R. Balakrishnan, Alamkara: The Beauty of Ornament, The National Museum Collection of Indian Jewellery, New Delhi, 2014, pg.198.

148 ≈A GROUP OF FOUR GOLD PENDANTS TAMIL NADU AND RAJASTHAN, LATE 19TH/ EARLY 20TH CENTURYthree South Indian marriage pendants (tali) of varying sizes and designs, fabricated from sheet gold, with lower sections in the forms of the letter ‘m’; two with applied repoussé decoration with stylised foliate designs, apertures on sides for suspension, the smaller set with ruby to top; the third with a double-arched top edge and a double ‘m’ at the lower edge, with a lingam in the centre, two suspension loops to reverse; one gold amulet (taviz) from Rajasthan, of tapering cylindrical form, with two narrow bands of scrolling designs, two suspension loops above the largest 5.4 cm. long, 24.2 g. ; 30.9 g. (total weight)(4)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600


The three South Indian marriage ornaments can either be worn alone or strung with other elements to form a fuller necklace. Forms and symbols correspond to particular religious sects, castes or communities. The large sculptural pendant, along with the smaller similarly formed gem-set one, is specific to the Kongu Vellalar Gounder community of Tamil Nadu. For comparable examples in the collections of the National Museum in New Delhi, see Usha R. Balakrishnan, Alamkara: The Beauty of Ornament, New Delhi, 2014, pg. 200,(acc. no. 88.625(1-4)). The tali with a representation of the lingam is worn by Shaivite Brahmins (followers of Shiva). Tiger’s claws or teeth were traditionally worn as symbols of courage and victory. Bala Krishnan suggests that the stylised forms of the tali pendants perhaps derive their shape from the ‘M’ form of two tiger’s claws placed adjacent to each other. (U. Bala Krishnan, M. Kumar, Indian Jewellery: Dance of the Peacock, Mumbai, 2001, pp.150-151).

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OTHER PROPERTIES

149A REPOUSSÉ GOLD COIN NECKLACE (KASUMALAI) SOUTH INDIA, PROBABLY TAMIL NADU, LATE 19TH CENTURYcomposed of one hundred coins, each with repoussé decoration depicting Lakshmi, the goddess of wealth, linked to a gold chain with floral motifs and bud finials 66.5 cm. long (approx.); 215 g.

£4,000 - 5,000 €5,500 - 6,800 US$6,200 - 7,700

The term kasu is included in all compound names of any South Indian necklace that includes coins. A kasumalai was originally made with a gold coin issued by a Chola king in the name of a toddy drawer (sanar) who had secretly discovered some gold. Upon being discovered, he was condemned to death. Just before his execution, the king granted him a last wish, that his name, Sanar Kasu, would be perpetuated by the issue of a pure gold coin. This tradition, of making necklaces out of gold coins (or imitations) continues in Tamil Nadu and elsewhere in South India. Representations of female Hindu deities are often used, as seen in our example with the image of the goddess Lakshmi. For a note on kasumalai and comparable examples, see Oppi Untracht, Traditional Jewelry of India, London 1997, pp. 123, 192, ill. 207, 367.

150 ≈A RUBY-SET ‘MAKARA HEAD’ GOLD BRACELET (TODA) SOUTH INDIA, 19TH CENTURYfabricated from gold sheet with repoussé and chased decoration, the makara head terminals with ruby-set eyes holding between their open mouths a spherical element depicting a kirtimukha on both sides, with gem-set screw to top, the hinged band composed of further graduated makara heads 7.7 cm. outer diam., 5.5 cm. inner diam.; 66.2 g.

£2,000 - 2,500 €2,700 - 3,400 US$3,100 - 3,900

Provenance Private UK collection; Given to the previous owners, the family of the pianist Jules Nicati, by the King of Thailand, Bhumibol Adulyadej, also known as Rama IX (reigned since 9 June 1946 to present) Such bangles were worn by kings and princes in South India in the 19th century and were bestowed by them as a mark of favour. There is a comparable example in the collections of the Victoria and Albert Museum in London (inv. no. 03291(IS)).

149 (detail)

104 | BONHAMS

151AN INDIAN DIAMOND-SET GOLD NECKLACE comprising thirty-nine graduated drop-shaped linked gold elements set with diamonds; a pendant in the form of a flowerhead suspended below, set with diamonds in gold in an open framework, a drop-shaped diamond-set element further below; verso with polychrome enamelled floral motifs on cream enamelled ground; on gold silk thread with tassel detail 24 cm. long (approx.); 70.5 g.

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000


152 Y ≈AN INDIAN GEM-SET GOLD NAVARATNA BRACELET composed of nine oval shaped linked sections with gem-stones including cat’s eye, coral, emerald, diamond, ruby, blue sapphire, pearl, quartz, set in gold, with small drop-shaped diamond-set elements at corners of each section, the ends with diamond-set floral sprays, verso with polychrome floral enamelled decoration 15.5 cm. long; 32.8 g.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

153 ≈AN INDIAN RUBY, DIAMOND AND EMERALD-SET NECKLACE composed of a pendant set with rubies, emeralds and diamonds in gold in the form of a flowerhead, verso with polychrome floral enamelled decoration, a ruby bead suspended below, on string composed of alternating ruby beads and seed pearls the pendant 4.7 x 4.5 cm.; 35.3 g.(total weight)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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106 | BONHAMS

154A PAIR OF INDIAN DIAMOND-SET GOLD PENDENT EARRINGS each of curved form with a central flowerhead, set with diamonds in gold, fringe of emerald beads suspended below, verso enamelled with delicate white and gold floral motifs on a dark green ground, fitted with post and screw each 5.5 cm. long (approx.), 19.6 g.(total weight)(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

155A LARGE INDIAN EMERALD AND DIAMOND-SET GOLD RING the head composed of a large oval-cut emerald backed with foil, surrounded by drop form diamond-set elements in an open framework, set in gold within an enamelled mount, verso with polychrome floral enamelled decoration, the enamelled band with floral motifs to shoulder and centre the mount 3.7 x 3 cm., finger size R, 18.8 g.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

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156GUJARI RAGINI: A MAIDEN PLAYING A VINA IN THE GROUNDS OF A PALACE, ACCOMPANIED BY A FEMALE ATTENDANT WITH A FLYWHISK MALWA, CIRCA 1680gouache on paper, yellow panel at top, orange border, reverse with stamp Raja of Raghogarh/Madhya Pradesh 306 x 210 mm.

£1,500 - 2,000 €2,100 - 2,700 US$2,300 - 3,100

157MALKOS RAGA: A PRINCE SEATED IN A PAVILION WITH FEMALE MUSICIANS AND ATTENDANTS DATIA, MADHYA PRADESH, CIRCA 1725gouache and gold on paper, yellow panel at top with eight lines of text in nagari script, red border 330 x 264 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Compare with another page from this series formerly in the Paul F. Walter Collection (see Pratapaditya Pal, The Classical Tradition in Rajput Paintings, New York, 1978, no. 34, and Pratapaditya Pal, Pleasure Gardens of the Mind: Indian Paintings from the Jane Green Collection, 1993, pp. 116-19, no. 40). Also see Christie’s, London, April 24, 1980 and another in the Dr. Kaywin Lehman Smith Collection, sold at Sotheby’s, New York, October 6, 1990, lot 186.

158AN ILLUSTRATION TO A PANCHAKHYANA SERIES: A KING IN DISCUSSION WITH HIS COURTIERS WITHIN AND AROUND PAVILIONS MEWAR, CIRCA 1700gouache and gold on paper, yellow panel at top with two lines of text in nagari script, red border 257 x 218 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

This painting is folio no. 39 from a dispersed Panchakhyana series (a Jain recension of the Panchatantra tales). The Panchakhyana series were a response by Mewar artists to the accessible narrative themes and engaging animal fables of the Panchatantra (Five Discourses), a Mirror for Princes text, to impart worldly wisdom for the ideal prince to follow. Another folio from this series, formerly in the Elvira and Gursharan Sidhu collection, is now in the Los Angeles County Museum of Art (M.90.160.2).

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159 *MAHARANA ARI SINGH (REG. 1761-73) SEATED ON A TERRACE WITH A COURTESAN AND FEMALE ATTENDANTS MEWAR, CIRCA 1761gouache and gold on paper, red border (partially trimmed) 325 x 203 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Provenance Acquired in the 1960s through Arthur Lall. Private New York Estate. The San Diego Museum of Art holds two closely-related horizontal format paintings: one of Raj Singh entertained by dancers and musicians, dated 1774 (1990.638), the other of Maharana Pratap Singh II with his rani, circa 1753 (Acc #: 1990.633).

160THAKUR GOPINATH RATHORE ON HORSEBACK WITH TWO ATTENDANTS ON FOOT ALONGSIDE GHANERAO, MARWAR, CIRCA 1720gouache and gold on paper, one line of nagari script Gopinath Rathore on painted surface, lacking border 325 x 228 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

161A PRINCE SMOKING A HOOKAH ON A TERRACE, AN ATTENDANT STANDING BEHIND HIM WITH A FLYWHISK MARWAR, CIRCA 1800gouache and gold on paper, red border 310 x 220 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

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162 *A GROUP OF SEVEN FOLIOS FROM A RAGAMALA SERIES AMBER, EARLY 18TH CENTURYgouache and gold on paper, each with a panel at top with five or six lines of text in nagari script, orange borders paintings: 209 x 151 mm.; folios 345 x 254 mm. and slightly smaller(7)

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

Provenance Acquired in the 1960s through Arthur Lall. Private New York Estate. The subjects comprise: Bhairava raga, Bhopali ragini, Patmanjari ragini, Megha Malar raga, Saindhavi ragini, Todi ragini, Gauri ragini. Several ragamala sets were commissioned under Sawai Jai Singh (reg. 1699-1743). The most distinguished of the group, dated 1709, is held in the Kankroli Collection. Three folios from a less refined version, also dated 1709, are in the Metropolitan Museum of Art (58.1.6-8). For a full discussion, see Asok Kumar Das, ‘Court Painting For The Amber Rulers, Circa 1590-1727’, in A. Topsfield, Court Painting of Rajasthan, Mumbai 2000, p. 50, nos. 9, 10 & 12. Compare with folios in the Brooklyn Museum of Art (Poster, Realms of Heroism, 1994, cat. 102, p. 142) and Ebeling, Ragamala Painting, 1973, cat. nos 43-7, pp. 185-8; also Christie’s, New York, September 21, 2007, lot 10.

110 | BONHAMS

163A RULER SEATED WITH NOBLEMEN ON AN ORNATE FLORAL CARPET ON A TERRACE, AFRICAN ATTENDANTS IN THE BACKGROUND NORTH DECCAN, HYDERABAD, CIRCA 1720gouache and gold on paper laid down on card 243 x 348 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The Mughal emperor Aurangzeb’s invasion of the Deccan in 1681 failed to suppress the talents of important local artists and the late 17th and early 18th Century was a period famous for fine portraiture in this region. This influence spread north and can be seen in the Provincial Mughal and Rajput schools continuing in the 18th Century. While the depiction of African servants is not unusual, the floral carpet is of particular note and may be an indication of the interaction between Hyderabad and Jaipur at this time. For further discussion and comparison see M. Zebrowski, Deccani Painting, 1983, pp. 209-230, col. pl. XXII; N. N. Haidar and M. Sardar, Sultans of the Deccan, India 1500-1700: Opulence and Fantasy, New York 2015, p. 287, and cat. no. 171.

164ASAVARI RAGINI: A YOUNG MAIDEN SEATED IN A ROCKY LANDSCAPE, PLAYING A MUSICAL INSTRUMENT, SNAKES ENTWINED AROUND HER ARM AND AROUND NEARBY TREES DECCAN, HYDERABAD, CIRCA 1760-1770gouache and gold on paper, remains of orange border, irregularly trimmed 213 x 157 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

165NAWAB ZAHID KHAN SEATED ON A TERRACE WITH AN ATTENDANT NORTH INDIA, CIRCA 1740-45gouache and gold on paper, brown border, nasta’liq inscription in Persian Picture of Navvab Zahid Jhan Afghan in upper border 237 x 150 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Nawab Zahid Khan, first Nawab of Multan, was an able man of gentle manners and considerable learning. He was appointed Nawab of Multan in 1738, when Nadir Shah invaded India. In 1747 Ahmad Shah Durrani invaded India and confirmed him in his appointment, but the government in Delhi instead appointed Shahnawaz Khan to supersede him as Governor. He died in 1749 in battle at Multan.

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166A NAWAB SEATED ON A TERRACE, HIS SWORD, SHIELD AND DAGGER BESIDE HIM PROVINCIAL MUGHAL, LATE 18TH CENTURYgouache and gold on paper, the numeral 133 in Persian at bottom left, blue border with inscription, perhaps Nawwab Fakhamat, and the phrase Number 151 new in Persian at top 280 x 190 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

167MALKOS RAGA: A PRINCE LEADING HIS MISTRESS TO A PAVILION ON A RIVERSIDE TERRACE, TWO FEMALE ATTENDANTS STANDING BY PROVINCIAL MUGHAL, NORTH INDIA, LATE 18TH CENTURYgouache and gold on paper, inscribed malkos in nasta’liq and nagari script on painted surface at upper left, laid down on an album page with gold-sprinkled orange borders album page 406 x 272 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

168A YOUNG NOBLEMAN ON A TERRACE WITH FEMALE ATTENDANTS DELHI, EARLY 19TH CENTURYgouache and gold on paper, laid down on an album page with illuminated borders depicting naturalistic floral sprays painting 243 x 150 mm.; album page 399 x 273 mm.

£3,000 - 4,000 €4,100 - 5,500 US$4,600 - 6,200

Later handwritten notes verso in Persian and English suggest that the subject is Prince Daniyal, the brother of the Emperor Jahangir (1572-1604).

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169A PRINCESS WITH FEMALE MUSICIANS AND ATTENDANTS ON A RIVERSIDE TERRACE AT NIGHT LUCKNOW, C. 1760-1780gouache and gold on paper, laid down on an 18th Century Lucknow album page with gilt-decorated borders, nasta’liq inscription in red ink in right-hand outer border, verso a leaf from a manuscript containing ghazals of Jami written in nasta’liq script in two columns within cloudbands, blue floral inner border, pink and white stencilled outer border painting 195 x 147 mm.; album page 353 x 225 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

Provenance Private UK collection. The nasta’liq inscription in the border reads majles-e tasvirat-e chandeni, ‘pictures of a moonlight gathering’. The rising generation of Awadhi artists in this period were influenced by concepts introduced by established artists such as Nidha Mal and Mir Kalan Khan. Lavish terrace scenes and colour palettes including a brilliant white were seen in works by Nidha Mal’s contemporaries. In particular, Awadhi artists showed a preference for painting night time terrace scenes depicting women celebrating festivals, playing games and music. For futher discussion and examples, see S. Markel, The Art of Courtly Lucknow, Los Angeles, 2011, pp.171-173.

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170RADHA AND KRISHNA IN A LANDSCAPE WITH A COWHERD, A STORM IN THE SKY BEYOND JAIPUR, CIRCA 1780gouache and gold on paper, laid down on an 18th Century Lucknow album page with fine gilt-decorated borders with stylised floral motifs in gold, orange outer border painting 165 x 115 mm.; album page 375 x 265 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700


171TWO ILLUSTRATED LEAVES FROM A DISPERSED MANUSCRIPT OF FIRDAUSI’S SHAHNAMA, DEPICTING HUNTING SCENES, WITH LATER BORDERS MUGHAL, CIRCA 1630, THE BORDERS PROBABLY DELHI, CIRCA 1800Persian manuscript on paper, two leaves with illustrations in gouache and gold, 21 lines of text to the page written in four columns in nasta’liq script in black ink, one leaf with text written diagonally verso, headings in red, inner margins ruled in colours and gold, wide outer borders (recto) finely illuminated with cartouches and scrolling floral motifs in colours and gold, leaves trimmed leaves 278 x 160 mm. and slightly smaller(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance The complete manuscript, Sotheby’s, Oriental Manuscripts and Miniatures, 14th July 1971, lot 299.

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172 W

A LARGE PAINTING DEPICTING THE PIETRA DURA WORK ON THE TOP OF THE CENOTAPH OF MUMTAZ MAHAL AT THE TAJ MAHAL, AGRA COMPANY SCHOOL, AGRA, CIRCA 1820-30watercolour on European paper (watermark only faintly visible), 11 lines of text comprising prayers and verses from the Qur’an written in large thuluth script in black ink, surmounted by a further calligraphic composition, all interspersed by and within stylised polychrome floral motifs 1570 x 365 mm.

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

The inscriptions consist of an invocation to God, followed by Qur’an, sura XLI, Fussilat or Ha-Mim, verse 30, and sura XL, Ghafir, part of verse 7 and the whole of verse 8. Arjumand Banu Begum, the wife of the Emperor Shah Jahan, known as Mumtaz Mahal, died in 1631. When Shah Jahan died in 1666 he was buried beside her, within an octagonal screen enclosure. Further inscriptions of verses from the Qur’an are found on the sides of the cenotaph, relating to the passage of the soul of the deceased into paradise.

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173AN EASTERN GOSHAWK, BY BHAWANI DAS, FROM THE COLLECTION OF LADY IMPEY COMPANY SCHOOL, CALCUTTA, CIRCA 1780pencil, pen and ink, and watercolour on paper watermarked J Whatman, inscribed Bas in Persian in nasta’liq script lower left, and in English In the Collection of Lady Impey at Calcutta/Painted by Bhawani Das [in Persian] Native of Patna, verso with Sir Elijah Impey’s seal impression 630 x 465 mm.

£30,000 - 40,000 €41,000 - 55,000 US$46,000 - 62,000

Exhibited T. Falk and G. Hayter, Birds in an Indian Garden: Nineteen Illustrations from the Impey Collection, Michael Goedhuis Ltd., London, 12th June-14th July 1984. A Journey Through India: Company School Pictures, Spink & Son, London 1996, p. 38, no. 17. Sir Elijah Impey was the East India Company’s Chief Justice of Bengal from 1774 to 1782. He was a well-known patron of Indian artists, but his wife, Mary, Lady Impey, who joined him in Calcutta in 1777, was particularly interested in the flora and fauna of the surrounding area, creating her own menagerie. She then commissioned studies of animals and plants from various artists from the nearby city of Patna, the most senior of whom were the Muslim Shaykh Zayn-al-Din, and the Hindus Ram Das and Bhawani Das, the painter of the present lot. The series commissioned by Lady Impey (as well as others in a similar style by unknown artists) are particularly striking because of their large size, using sheets of English watermarked paper. There were 326 works in the original series, 197 of which were birds, and these were brought back to England with the Impeys in 1783, and were sold at Phillips in London in 1810. The Eastern Goshawk (accipiter gentilis Schvedowi is known in Hindi as jarra (male) and Baz (female). It occasionally makes its way to India from the Himalayas, and it was prized by falconers. The female is slightly larger than the male.

116 | BONHAMS

174A LARGE BOTANICAL STUDY OF CUPRESSUS LUSITANICA COMPANY SCHOOL, PROBABLY CALCUTTA, CIRCA 1848pen and ink and watercolour on European paper watermarked Whatman 1848, identifying inscription and numeral 49 at lower centre 595 x 415 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

Cupressus lusitanica, a form of cypress tree, is an evergreen conifer which can grow up to forty metres high. It was originally cultivated in Portugal (from which derives its scientific name, lusitanica), but was introduced into central and south America from the 17th Century, where it flourished, and where it is referred to as cedro blanco. Subsequently it was introduced into parts of southern Asia, where it became naturalised and often confused with native varieties of cypress.

175AN IMAGE OF THE FAMILY OF SIVA CARRIED IN PROCESSION SOUTH INDIA, PERHAPS PONDICHERRY, MID-19TH CENTURYwatercolour on European watermarked paper, extensive inscription in French in lower border, no. 5 in a series 300 x 485 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Compare a group of three Pondicherry paintings sold in these rooms, of which two depict Christian processions in a very similar style, and with French inscriptions (Bonhams, Islamic and Indian Art, 19th April 2007, lots 332-334, especially 333 and 334). The French text reads: Fete de Shiveu, Dieu consolateur. Les fetes des malabars seres semblent toutes par les cérémonies - elles consistent a proméner la divinité dans un girole en bois ornée des fleurs, les indiens de toutes castes viennent se prosterner devant cet objet de leur culte, les musiciens armes d’instruments rendant des son aigus, de sortes de flutes, des trompettes en jouent constamment jusqu’a ce qu’on ait amene le Dieu dans l’interieur du temple, les devots ceux qui ont fait des voeux, qui ont des faveurs des graces a solliciter y viennent casser des cocos, bruler de l’encess et du canphre, d’aubes enfin y apportent de l’huile Ya Ya.

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176AN IMPRESSIVE PAINTING ON CLOTH DEPICTING A TIGER RAJASTHAN, PROBABLY UDAIPUR, CIRCA 1900-1920gouache on cloth, inscriptions in nagari script at upper right and lower centre, backed 186 x 299 cm.

£7,000 - 9,000 €9,600 - 12,000 US$11,000 - 14,000

Provenance European private collection: acquired from Malcolm Fraser, Olympia, 1993. Inscriptions: top right, one line in nagari script including ‘...1933’ which could be a Vikram Samvat date; in the centre, number 20 ki:(price) 13 This near life-size painting depicts an animal killed during a hunt. Such a work is an example of the practice of the Mewari nobility of recording their hunting kills, as declarations of their skill and prowess. It is unlikely that such works would have been hung permanently, but rather displayed in triumphant celebration and then stored for posterity. For a rare example of a cloth painting (in a more exaggerated form and style) of a tiger from Mewar, in the collection of Nahar Singh II of Devgarh and attributed to the mid-19th century painter Baijnath, see M. Beach (op. cit, below). A larger painting depicting a tiger, also from Udaipur, but dated around a century earlier (1765-70) was sold in these rooms, Bonhams, Islamic and Indian Art, 2nd October 2012, lot 174. For further discussion, see: Topsfield, Andrew, Court Painting at Udaipur: Art Under the Patronage of the Maharanas of Mewar, Zurich 2001. Beach, Milo and Rawat Nahar Singh II, Rajasthani Painters: Bagta and Chokha, Master Artists at Devgarh, Zurich 2005, fig. 125.

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177MAHARANA SARUP SINGH (REG. 1842-61) HUNTING BOAR ON HORSEBACK WITH ATTENDANTS UDAIPUR, CIRCA 1855-60gouache and gold on paper, narrow gold border 207 x 260 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The overall style of this painting, as well as, in particular, the portrayal of the horse and its caparison, the hound and boar, are highly reminiscent of a painting offered in these rooms by the artist Parasuram, a follower of Tara, dated 1913 VS/AD 1855-56. (See Bonhams, Islamic and Indian Art, 2nd October 2012, lot 185). Compare also a painting in the City Palace Museum, Udaipur, illustrated in A. Topsfield, Court Painting at Udaipur: art under the patronage of the Maharanas of Mewar, Zurich 2001, p. 266, fig. 243, depicting Sarup Singh riding out with Rawat Khuman Singh; and pp. 265-266 for Parasuram.

178A RULER ON HORSEBACK HUNTING BOAR UDAIPUR, CIRCA 1860gouache and gold on paper, blue inner border, mauve outer border (now faded), nagari inscription in upper border (also faded) 243 x 288 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

The faded inscription is barely decipherable, but contains a name ending in -an Singh or -at Singh. Jawan Singh (reg. 1828-38) would appear to have reigned too early to be portrayed in this style which is highly reminiscent of that of Tara or his son Sivalal, produced in the late 1850s and early 1860s.

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179A PRINCE IN DEVOTION BEFORE SIVA AND PARVATI, ACCOMPANIED BY GANESH AND NANDI JODHPUR, EARLY 19TH CENTURYgouache and gold on paper, floral border 258 x 277 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

180RADHA AND KRISHNA WITH FEMALE MUSICIANS AND ATTENDANTS JAIPUR OR ALWAR, CIRCA 1800gouache and gold on paper, border with songbirds amidst stylised floral motifs on a blue ground, yellow panel in upper border 320 x 442 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

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181MAHARAJAH MAN SINGH OF JODHPUR (REG. 1803-43) WITH PRINCE CHATTAR SINGH AND NOBLE ATTENDANTS, INCLUDING THE ROYAL GURU DEV NATH, BEFORE AN IMAGE OF THE IMMORTAL ASCETIC JALLANDHARNATH JODHPUR, CIRCA 1810-1815gouache and gold on paper, floral border, nagari inscriptions verso 208 x 283 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

The text on the reverse reads: Maharajah Man Singh Ayasji [an honorific title] Devnathji maharaj Prince Chattar Singh Sayabnath maharaj [probably Bhimnath] With hands clasped in reverence Maharaja Man Singh of Jodhpur is paying homage to the image of the yogic saint Jallandharnath. (Painter : in the style of Bulaki). Man Singh was a devotee of the Nath Sampraday. The Nath sect had its beginnings in the 12th-13th Century and became popular to the extent of being the best-known yogis. The sect revered powerful immortal ascetics, known as mashasiddhas (great perfected beings). These figures, covered in ash and wearing large earrings, wandered the earth, encountering mortals and often conferring power and grace on those who revered them. As Debra Diamond observes, ‘Man Singh’s reign as Jallandharnath’s supreme devotee was thus an extreme but not unprecedented spiritual affiliation for a Hindu ruler.’ (Garden and Cosmos, p. 32). For Man Singh and the Nath sect, see D. Diamond, C. Glyn, and K. Singh Jasol, Garden and Cosmos: the Royal Paintings of Jodhpur, London 2008, pp. 141-171 in general; and in particular pp. 146-147, no. 32 and pp. 148-149, no. 33, for two portrayals of Jallandarnath worshipped by Man Singh and seated alone. The tall figure to the left is Dev Nath, Man Singh’s guru and adviser, who was murdered in 1815. As his spiritual confidant, Dev Nath was also elevated to temporal power, as were later gurus, awarding them land grants and fiefdoms over which they exerted their own power independently. See Garden and Cosmos, p. 34, and pp. 160-161, nos. 36 and 37. On the Muslim artist Bulaki, one of Man Singh’s court painters who specialised in small, almost minimalist devotional Nath paintings, see p. 38.

182THAKUR GUMAN SINGH OF THE SANDERAO THIKANA (ACCEDED 1708) IN PHILOSOPHICAL DISCUSSION WITH THE YOGI DHUNDHALI MAL IN A MOUNTAINOUS LANDSCAPE JODHPUR, CIRCA 1820gouache, gold and silver on paper, yellow and red borders, extensive nagari inscription verso 237 x 308 mm.

£3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

The text on the reverse reads: Thakur Guman Singh, son of Dalpat Singh of Sanderao, Rajthan, Ranavat, descendant of Udai Singh, enjoying his morning in the hills. Here the yogic saint Dhundhali Mal granted him an audience [darshan]. The ruler is participating in philosophical discussion with the holy man.

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183A NOBLEMAN AT PRAYER BEFORE AN IMAGE OF KRISHNA, ACCOMPANIED BY A LARGE CONGREGATION OF NOBLEMEN AND ATTENDANTS SOUTH RAJASTHAN, OR POSSIBLY GUJARAT, SECOND HALF OF THE 19TH CENTURYgouache, gold and silver on paper, blue floral inner border, red outer border, one line of nagari script verso 380 x 490 mm.

£6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

The inscription verso reads: satabhai(?) gurang(?) singhji/47.

183


184A RAJA OF BANDRALTA, PROBABLY INDRA DEV, SEATED WITH A HAWK, SMOKING A HOOKAH, AN ATTENDANT WITH A FLYWHISK STANDING BEHIND HIM BANDRALTA, CIRCA 1750gouache on paper, fragmentary red border, laid down on a separate sheet 230 x 335 mm.

£5,000 - 7,000 €6,800 - 9,600 US$7,700 - 11,000

Indra Dev, who ruled circa 1730 to circa 1760, is perhaps the most frequently portrayed of the rulers of the small state of Bandralta, just north of Mankot. See W. G. Archer, Indian Paintings from the Punjab Hills, London 1973, vol. I, pp. 8-12; vol. II, pp. 12-13, nos. 1, 2, 4 and 5. No. 4 appears to feature the same distinctively-featured attendant. For a portrait of similar composition depicting an earlier ruler of Bandralta, Kailashpat Dev, circa 1730, see Sam Fogg, Indian Paintings and Manuscripts, Catalogue 21, London 1999, p. 83, no. 52.

185A FOLIO FROM THE DEVI MAHATMYA, PART OF THE MARKANDEYA PURANA: VISHNU SLEEPING ON THE SEA-SERPENT ON THE FACE OF THE WATERS, BRAHMA SEATED ON THE LOTUS RISING FROM HIS NAVEL, THE DEMONS MADHU AND KAITABHA ABOUT TO ATTACK PAHARI, PROBABLY BASOHLI, EARLY 19TH CENTURYgouache and gold on paper, red border, cover sheet with 17 lines of text with verses relating to the scene in nagari script in black ink within yellow and red borders, stamp of the Royal Library of Mandi 262 x 365 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

The scene depicts the moment when the two demons Madhu and Kaitabha, born of the ‘impurities of Vishnu’s ears’, begin to threaten Brahma. Brahma persuades the spirit of the eternal sleep which grips Vishnu to leave him and so defend against the demons: however, the ensuing battle lasts for five thousand years, such is the demons’ strength. For a depiction of this battle, done in Jodhpur in the 19th Century, see B. N. Goswamy, Essence of Indian Art, Asian Art Museum of San Francisco 1986, p. 156, no. 114; and the sale in these rooms of an example from Guler, Bonhams, Islamic and Indian Art, 7th October 2014, lot 366.

184

185

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186VIHAGADA RAGAPUTRA: A PRINCE SEATED AGAINST A BOLSTER ON A TERRACE WITH A MAIDEN, AND A FEMALE ATTENDANT WITH A FLYWHISK BILASPUR, SECOND QUARTER OF THE 18TH CENTURYgouache and gold on paper, red-orange border 246 x 183 mm.

£2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

For a painting of the same subject and of similar date, see G. Boner, E. Fischer, and B. Goswamy, Sammlung Alice Boner, Zurich 1994, p. 117, no. 378.

186 187

187 *RADHA AND KRISHNA AT A BALCONY WINDOW KANGRA, EARLY 19TH CENTURYgouache and gold on paper, pink border 218 x 178 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600


188A SCENE FROM THE DEVI MAHATMYA: INDRA, SEATED ON AIRAVATA, WATCHES THE DEMON ARMY, LED BY SUMBHA AND NISUMBHA, KILLING THE GODS KANGRA, CIRCA 1830gouache and gold on paper, nagari inscriptions on painted surface, floral border 213 x 252 mm.

£4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

The inscriptions identify the demons Nisumbha and Sumbha (who, after initially gaining her favour and success against the gods, are eventually destroyed by the Great Goddess in her manifestation as Mahasarasvati).

189A FOLIO FROM A BHAGAVATA PURANA SERIES: UGRASHAVAS BEGINNING TO NARRATE THE BHAGAVATA PURANA TO THE SAGES AT HIS ASHRAM IN THE FOREST PAHARI,EARLY 19TH CENTURYgouache on paper, blue floral inner border, red outer border with four cartouches, two blank, two with two lines and one line of text respectively in nagari text, two lines of nagari inscription verso 308 x 372 mm.

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Inscriptions: Recto, top: 14/tasyo kavitsa kaalanch muni naate nastaka/ ta ittashveta shvavicharnutasmin munivarashram. Recto, bottom: sochintayatradatram mamatva krishtachetnaya 11. Verso, top: 14/ prathamadhyaya. Verso, centre: prashantasvapadakirna munishishyaya shobhitan 10. This is folio 14 from the first book and illustrates the opening of the Bhagavata Purana. When the sages ask Ugrashavas to tell them about Krishna, he starts narrating the Bhagavata Purana to them, at his ashram in the Naimisha forest. Ugrashravas belonged to the suta caste and is believed to be the narrator of several Puranas including the Mahabharata and the Harivamsa.

188

189

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190THREE DRAWINGS: A BATTLE SCENE FROM THE MAHABHARATA; YUDHISTHIRA AND DRAUPADI PLOUGHING THE GROUND, FROM THE MAHABHARATA; A MAIDEN AT HER TOILETTE OVERLOOKED BY A PRINCE, PERHAPS RADHA AND KRISHNA PAHARI, 19TH CENTURYpen and ink on paper, the first two with extensive identifying inscriptions in nagari script 290 x 327 mm.; 285 x 320 mm.; 265 x 177 mm.(3)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

A. The battle scene depicts Krishna and the Pandavas leading their army (on the right) against the forces of the Kauravas. The inscription reads: [folio]190/ paraspar yuddha lagataamradhwaje/ pandu(?) vaari fauj aare sardaara sabhi/jo trai trai vara hridaye vishe(?)/ laye: ‘The battle rages on...the army of the Pandavas with their arrows strike fear into their hearts’. There are further identifying inscriptions: Shri Krishna (in the centre with a nimbus); Pravin; Pradyuman; Arjun, and others. B. Yudhisthira and Draupadi plough the ground preparing for a yajna, possibly the Rajsuja yajna, attended by Krishna, Kunti (mother of the Pandavas), and others. The inscriptions read: [folio] 232 Top register: Stree Mangalachaar Gandhi; Brahma Rao Ved Pathakarde; Kunti Devaki ge aad samast stree Central register: yagya sthana mandparthebhoomi/ sudhikshetrikarsa; Yudhisthira; Draupadi; shri Krishna ke saath sabh Bottom register: shri ganga; kshatra karsrakri ketain... kaaschainakita.

190


191A COLLECTION OF THIRTY-ONE DRAWINGS, DEPICTING SUBJECTS FROM HINDU MYTHOLOGY, COURT AND BATTLE SCENES, AND STUDIES OF ANIMALS PAHARI, EARLY 19TH CENTURYthirty-one drawings on twenty-eight sheets, pen and ink on paper, several with use of gouache, some with inscriptions in nagari and takri script, now in separate folders in modern archival box, together with the original half-leather album in which the drawings were mounted, some leaves with captions, later label reading from Percival Chater Manuk Collection, drawings/sketches, Indian Life & Mythology, 18th Century the largest 245 x 178 mm.; the smallest 87 x 95 mm.; album 280 x 225 mm.(29)

£12,000 - 15,000 €16,000 - 21,000 US$19,000 - 23,000

Provenance Formerly in the collection of Percival Chater Manuk (1873-1946). Percival Chater Manuk was a high court judge in Patna, and was an early collector of Indian miniatures. He encountered W. G. Archer (who was stationed in Bihar) when the latter was posted to Patna in 1940, along with other connoisseurs of Indian painting such as Rai Krishna Dasa and Gopi Krishna Kanoria, and this seems to have been the starting point for both W. G. and Mildred Archer’s interest in the subject. Chater Manuk bequeathed, in his own name and that of Miss G M Coles, approximately fourteen hundred works (including European and Oriental pictures, miniatures, manuscripts, enamels, Georgian and Indian silver objects, Chinese porcelain, glass and carpets) through the National Art Collections Fund to the British Museum, Victoria & Albert Museum, the Fitzwilliam Museum in Cambridge and Bristol Art Gallery.

The subjects of the drawings are as follows: 1. Shiva as Vishwarupa (the cosmic form), 141 x 234 mm. 2. Radha and Krishna at a balcony window (with notes regarding colour), 232 x 154 mm. 3. The goddess Durga, along with a manifestation of her as Kali, in combat with demons, verso a variation of the same subject, 153 x 245 mm. 4. Mahabali with the dwarf avatar of Vishnu (vamana avatar), 203 x 145 mm. 5. A maiden playing a vina before a holy man, 130 x 185 mm. 6. A maiden with a hound, 195 x 140 mm. 7. A study of elephants, 87 x 95 mm. 8. A prince seated on a charpoy with attendants, 63 x 157 mm. 9. A study of oxen, 128 x 95 mm. 10. Krishna as a child with the ogress Putana, 93 x 127 mm. 11. A study of two ducks, 160 x 125 mm. 12. Siva and Parvati on Mount Kailasa with gods led by Brahma, 187 x 228 mm.

13. A seated prince, 155 x 93 mm. 14. A seated prince smoking a hookah, 205 x 156 mm. 15. Shiva, as Tripurantaka, seated in a horse-drawn chariot with the sun and moon as wheels, Brahma as his charioteer, 156 x 217 mm. 16. Three maidens in discussion, 147 x 133 mm. 17. A nobleman before a shrine to Vishnu and Lakshmi, 180 x 130 mm. 18. Durga in aerial combat with Mahishasura and other demons; verso two portrait studies of a prince, 200 x 217 mm. 19. Nanda with Krishna and Balarama as children, 148 x 203 mm. 20. A devotee before Panchamukha Siva and Parvati, 135 x 213 mm. 21. Lovers making a moonlit escape from a palace, 190 x 130 mm. 22. A maiden promenading with female musicians and attendants, 233 x 155 mm. 23. Krishna with Yashoda in a palace courtyard, 245 x 178 mm. 24. The churning of the sea (kurma avatar); verso Matsya avatar, 157 x 210 mm. 25. A patriarch with his daughters, 157 x 210 mm. 26. A hunting scene with female mounted archers, 185 x 195 mm. 27. A palace scene with a maiden and her suitor, 223 x 165 mm. 28. A maiden playing a musical instrument with an attendant,175 x 130 mm.

All of the drawings are illustrated online.

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191 (part lot)

192 •A HINDU DEVOTIONAL MANUSCRIPT, WITH 55 ILLUSTRATIONS KASHMIR, CIRCA 1860Sanskrit manuscript on paper, 368 leaves, 8 lines to the page written in nagari script in black and red ink, interlinear and marginal additions, margins ruled in red, black and yellow, 55 illustrations in gouache and gold, wide orange, mauve and yellow borders, occasional smudging and slight creasing otherwise in good condition, red morocco with flap 238 x 172 mm.

£8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

The subjects depicted include avatars of Vishnu, Krishna hiding the milkmaids’ clothes, killing the demon Kansa, and holy men with devotees.

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192

193MAHADEV VISWANATH DHURANDHAR (INDIAN, 1867-1944) TWO PORTRAITS: THE ARTIST’S FATHER, A PRABHU PATHARE MARATHA, AND GANGUBAI, THE ARTIST’S SECOND WIFEthe first charcoal on paper, inscribed with the title on the reverse, the second watercolour on paper, signed M. V. D. and dated 1927 lower right, and inscribed with the title on the reverse, framed, 200 x 155 mm.; 170 x 115 mm.; and a portrait of Anandrao S. Nayak, watercolour on paper, signed lower right, framed 165 x 95 mm.(3)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Ambika Dhurandhar, the artist’s daughter. Private UK collection from 1995. In the third painting Dhurandhar has used a specific model (probably a lawyer and family friend) for a fully-finished drawing of an Indian ‘type’ such as he illustrated in The Peoples of Bombay (published in Bombay, Thacker & Co., 1944).

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193

194MAHADEV VISWANATH DHURANDHAR (INDIAN, 1867-1944) BUND AT POONApencil and watercolour on paper, signed and dated 1934 lower left, framed, 210 x 290 mm.; and Doorway, Kolhapur, pastel on paper, framed 237 x 181 mm.(2)

£2,000 - 3,000 €2,700 - 4,100 US$3,100 - 4,600

Provenance Ambika Dhurandhar, the artist’s daughter. Private UK collection from 1995. The bunds at Poona extend along the banks of the Mula and Mutha rivers. Dhurandhar would often have visited Poona, en route between Bombay and his family home in Kolhapur; as the major provincial Maratha city, Poona contained cultural, educational and Prabhu Pathare caste establishments with strong links to Bombay. The scene of the second painting lies in Dhurandhar’s family home, where he was brought up before he moved to Bombay. His command in this picture (executed in 1892) of both British and Parisian fin-de-siecle chalk drawing hence strongly conveys subjectively-felt affection and warmth.

END OF SALE


194

NTB/MAIN/06.15

This notice is addressed by Bonhams to any person who may be interested in a Lot, including Bidders and potential Bidders (including any eventual Buyer of the Lot). For ease of reference we refer to such persons as “Bidders” or “you”. Our List of Definitions and Glossary is incorporated into this Notice to Bidders. It is at Appendix 3 at the back of the Catalogue. Where words and phrases are used in this notice which are in the List of Definitions, they are printed in italics.

IMPORTANT: Additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. Announcements affecting the Sale may also be given out orally before and during the Sale without prior written notice. You should be alert to the possibility of changes and ask in advance of bidding if there have been any.

1. OUR ROLE

In its role as Auctioneer of Lots, Bonhams acts solely for and in the interests of the Seller. Bonhams’ job is to sell the Lot at the highest price obtainable at the Sale to a Bidder. Bonhams does not act for Buyers or Bidders in this role and does not give advice to Buyers or Bidders. When it or its staff make statements about a Lot or, if Bonhams provides a Condition Report on a Lot it is doing that on behalf of the Seller of the Lot. Bidders and Buyers who are themselves not expert in the Lots are strongly advised to seek and obtain independent advice on the Lots and their value before bidding for them. The Seller has authorised Bonhams to sell the Lot as its agent on its behalf and, save where we expressly make it clear to the contrary, Bonhams acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf and, unless Bonhams sells a Lot as principal, not on our behalf and any Contract for Sale is between the Buyer and the Seller and not with us. If Bonhams sells a Lot as principal this will either be stated in the Catalogue or an announcement to that effect will be made by the Auctioneer, or it will be stated in a notice at the Sale or an insert in the Catalogue.

Bonhams does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bonhams does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find at Appendix 2 at the back of the Catalogue. This will govern Bonhams’ relationship with the Buyer.

2. LOTS

Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the colour(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. In particular, parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition. Electronic or mechanical parts may not operate or may not comply with current statutory requirements. You should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before

doing so. Such items which are unsuitable for connection are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES

Contractual Description of a Lot The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

Estimates In most cases, an Estimate is printed beside the Entry. Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thinks the Hammer Price for the Lot is likely to fall; it is not an Estimate of value. It does not take into account any VAT or Buyer’s Premium payable. Lots can in fact sell for Hammer Prices below and above the Estimate. Any Estimate should not be relied on as an indication of the actual selling price or value of a Lot. Estimates are in the currency of the Sale.

Condition Reports In respect of most Lots, you may ask for a Condition Report on its physical condition from Bonhams. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. Nor does the Seller owe or agree to owe you as a Bidder any obligation or duty in respect of this free report about a Lot, which is available for your own inspection or for inspection by an expert instructed by you. However, any written Description of the physical condition of the Lot contained in a Condition Report will form part of the Contractual Description of the Lot under which it is sold to any Buyer.

The Seller’s responsibility to you The Seller does not make or agree to make any representation of fact or contractual promise, Guarantee or warranty and undertakes no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot. Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer.

Bonhams’ responsibility to you You have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams; Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams undertakes no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any Descriptions or opinions given by Bonhams, or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere.

You should not suppose that such examinations, investigations or tests have occurred.

Bonhams does not make or agree to make any representation of fact, and undertakes no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot

or as to the anticipated or likely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale.

THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR BEHALF BEFORE THE SALE.

4. CONDUCT OF THE SALE

Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Auction speeds can exceed 100 Lots to the hour and bidding increments are generally about 10%. However these do vary from Sale to Sale and from Auctioneer to Auctioneer. Please check with the department organising the Sale for advice on this. Where a Reserve has been applied to a Lot, the Auctioneer may, in his absolute discretion, place bids (up to an amount not equalling or exceeding such Reserve) on behalf of the Seller. We are not responsible to you in respect of the presence or absence of any Reserve in respect of any Lot. If there is a Reserve it will normally be no higher than the lower figure for any Estimate in the Catalogue, assuming that the currency of the Reserve has not fluctuated adversely against the currency of the Estimate. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer in his absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale and may record telephone calls for reasons of security and to assist in solving any disputes which may arise in relation to bids made at the Sale. At some Sales, for example, jewellery Sales, we may use screens on which images of the Lots will be projected. This service is provided to assist viewing at the Sale. The image on the screen should be treated as an indication only of the current Lot. It should be noted that all bids tendered will relate to the actual Lot number announced by the Auctioneer. We do not accept any responsibility for any errors which may occur in the use of the screen.

5. BIDDING

We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving licence (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

NOTICE TO BIDDERS

NTB/MAIN/06.15

This notice is addressed by Bonhams to any person who may be interested in a Lot, including Bidders and potential Bidders (including any eventual Buyer of the Lot). For ease of reference we refer to such persons as “Bidders” or “you”. Our List of Definitions and Glossary is incorporated into this Notice to Bidders. It is at Appendix 3 at the back of the Catalogue. Where words and phrases are used in this notice which are in the List of Definitions, they are printed in italics.

IMPORTANT: Additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. Announcements affecting the Sale may also be given out orally before and during the Sale without prior written notice. You should be alert to the possibility of changes and ask in advance of bidding if there have been any.

1. OUR ROLE

In its role as Auctioneer of Lots, Bonhams acts solely for and in the interests of the Seller. Bonhams’ job is to sell the Lot at the highest price obtainable at the Sale to a Bidder. Bonhams does not act for Buyers or Bidders in this role and does not give advice to Buyers or Bidders. When it or its staff make statements about a Lot or, if Bonhams provides a Condition Report on a Lot it is doing that on behalf of the Seller of the Lot. Bidders and Buyers who are themselves not expert in the Lots are strongly advised to seek and obtain independent advice on the Lots and their value before bidding for them. The Seller has authorised Bonhams to sell the Lot as its agent on its behalf and, save where we expressly make it clear to the contrary, Bonhams acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf and, unless Bonhams sells a Lot as principal, not on our behalf and any Contract for Sale is between the Buyer and the Seller and not with us. If Bonhams sells a Lot as principal this will either be stated in the Catalogue or an announcement to that effect will be made by the Auctioneer, or it will be stated in a notice at the Sale or an insert in the Catalogue.

Bonhams does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bonhams does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find at Appendix 2 at the back of the Catalogue. This will govern Bonhams’ relationship with the Buyer.

2. LOTS

Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the colour(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. In particular, parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition. Electronic or mechanical parts may not operate or may not comply with current statutory requirements. You should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before

doing so. Such items which are unsuitable for connection are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES

Contractual Description of a Lot The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

Estimates In most cases, an Estimate is printed beside the Entry. Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thinks the Hammer Price for the Lot is likely to fall; it is not an Estimate of value. It does not take into account any VAT or Buyer’s Premium payable. Lots can in fact sell for Hammer Prices below and above the Estimate. Any Estimate should not be relied on as an indication of the actual selling price or value of a Lot. Estimates are in the currency of the Sale.

Condition Reports In respect of most Lots, you may ask for a Condition Report on its physical condition from Bonhams. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. Nor does the Seller owe or agree to owe you as a Bidder any obligation or duty in respect of this free report about a Lot, which is available for your own inspection or for inspection by an expert instructed by you. However, any written Description of the physical condition of the Lot contained in a Condition Report will form part of the Contractual Description of the Lot under which it is sold to any Buyer.

The Seller’s responsibility to you The Seller does not make or agree to make any representation of fact or contractual promise, Guarantee or warranty and undertakes no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot. Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer.

Bonhams’ responsibility to you You have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams; Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams undertakes no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any Descriptions or opinions given by Bonhams, or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere.

You should not suppose that such examinations, investigations or tests have occurred.

Bonhams does not make or agree to make any representation of fact, and undertakes no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot

or as to the anticipated or likely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale.

THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR BEHALF BEFORE THE SALE.

4. CONDUCT OF THE SALE

Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Auction speeds can exceed 100 Lots to the hour and bidding increments are generally about 10%. However these do vary from Sale to Sale and from Auctioneer to Auctioneer. Please check with the department organising the Sale for advice on this. Where a Reserve has been applied to a Lot, the Auctioneer may, in his absolute discretion, place bids (up to an amount not equalling or exceeding such Reserve) on behalf of the Seller. We are not responsible to you in respect of the presence or absence of any Reserve in respect of any Lot. If there is a Reserve it will normally be no higher than the lower figure for any Estimate in the Catalogue, assuming that the currency of the Reserve has not fluctuated adversely against the currency of the Estimate. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer in his absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale and may record telephone calls for reasons of security and to assist in solving any disputes which may arise in relation to bids made at the Sale. At some Sales, for example, jewellery Sales, we may use screens on which images of the Lots will be projected. This service is provided to assist viewing at the Sale. The image on the screen should be treated as an indication only of the current Lot. It should be noted that all bids tendered will relate to the actual Lot number announced by the Auctioneer. We do not accept any responsibility for any errors which may occur in the use of the screen.

5. BIDDING

We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving licence (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

NOTICE TO BIDDERS

NTB/MAIN/06.15

Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk.

Bidding by telephone If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Please contact us for further details.

Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interests to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and is confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet Please visit our Website at http://www.bonhams.com for details of how to bid via the internet.

Bidding through an agent Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent’s authority to bid. Nevertheless, as the Bidding Form explains, any person placing a bid as agent on behalf of another (whether or not he has disclosed that fact or the identity of his principal) will be jointly and severally liable with the principal to the Seller and to Bonhams under any contract resulting from the acceptance of a bid. Subject to the above, please let us know if you are acting on behalf of another person when bidding for Lots at the Sale.

Equally, please let us know if you intend to nominate another person to bid on your behalf at the Sale unless this is to be carried out by us pursuant to a Telephone or Absentee Bidding Form that you have completed. If we do not approve the agency arrangements in writing before the Sale, we are entitled to assume that the person bidding at the Sale is bidding on his own behalf. Accordingly, the person bidding at the Sale will be the Buyer and will be liable to pay the Hammer Price and Buyer’s Premium and associated charges. If we approve the identity of your client in advance, we will be in a position to

address the invoice to your principal rather than you. We will require proof of the agent’s client’s identity and residence in advance of any bids made by the agent on his behalf. Please refer to our Conditions of Business and contact our Customer Services Department for further details.

6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BONHAMS

On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. This is our Buyer’s Agreement, the terms of which are set out in Appendix 2 at the back of the Catalogue. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements in advance of their being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale. You should be alert to this possibility of changes and ask if there have been any.

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER

Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payable to us by the Buyer in accordance with the terms of the Buyer’s Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. Storage charges and Expenses are also payable by the Buyer as set out in the Buyer’s Agreement. All the sums payable to us by the Buyer are subject to VAT. For this Sale the following rates of Buyer’s Premium will be payable by Buyers of Lots:

25% up to £50,000 of the Hammer Price20% from £50,001 to £1,000,000 of the Hammer Price12% from £1,000,001 of the Hammer Price

On certain Lots, which will be marked “AR” in the Catalogue and which are sold for a Hammer Price of €1,000 or greater (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale), the Additional Premium will be payable to us by the Buyer to cover our Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006. The Additional Premium will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed €12,500 (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).

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

8. VAT

The prevailing rate of VAT at the time of going to press is 20%, but this is subject to government change and the rate payable will be the rate in force on the date of the Sale.

The following symbols are used to denote that VAT is due on the Hammer Price and Buyer’s Premium:† VAT at the prevailing rate on Hammer Price and Buyer’s

PremiumΩ VAT on imported items at the prevailing rate on Hammer

Price and Buyer’s Premium* VAT on imported items at a preferential rate of 5%

on Hammer Price and the prevailing rate on Buyer’s Premium

G Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer’s Premium

• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer’s Premium

a Buyers from within the EU: VAT is payable at the prevailing rate on just the Buyer’s Premium (NOT the Hammer Price). Buyers from outside the EU: VAT is payable at the prevailing rate on both Hammer Price and Buyer’s Premium. If a Buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Bonhams immediately.

In all other instances no VAT will be charged on the Hammer Price, but VAT at the prevailing rate will be added to Buyer’s Premium which will be invoiced on a VAT inclusive basis.

9. PAYMENT

It is of critical importance that you ensure that you have readily available funds to pay the Purchase Price and the Buyer’s Premium (plus VAT and any other charges and Expenses to us) in full before making a bid for the Lot. If you are a successful Bidder, payment will be due to us by 4.30 pm on the second working day after the Sale so that all sums are cleared by the eighth working day after the Sale. Unless agreed by us in advance payments made by anyone other than the registered Buyer will not be accepted. Payment will have to be by one of the following methods (all cheques should be made payable to Bonhams 1793 Limited). Bonhams reserves the right to vary the terms of payment at any time.

Sterling personal cheque drawn on a UK branch of a bank or building society: all cheques must be cleared before you can collect your purchases;

Cash: you may pay for Lots purchased by you at this Sale with notes, coins or travellers cheques in the currency in which the Sale is conducted (but not any other currency) provided that the total amount payable by you in respect of all Lots purchased by you at the Sale does not exceed £3,000, or the equivalent in the currency in which the Sale is conducted, at the time when payment is made. If the amount payable by you for Lots exceeds that sum, the balance must be paid otherwise than in coins, notes or travellers cheques;

Bank transfer: you may electronically transfer funds to our Trust Account. If you do so, please quote your paddle number and invoice number as the reference. Our Trust Account details are as follows:

Bank: National Westminster Bank PlcAddress: PO Box 4RY250 Regent StreetLondon W1A 4RYAccount Name: Bonhams 1793 Limited Trust AccountAccount Number: 25563009Sort Code: 56-00-27IBAN Number: GB 33 NWBK 560027 25563009

If paying by bank transfer, the amount received after the deduction of any bank fees and/or conversion of the currency of payment to pounds sterling must not be less than the sterling amount payable, as set out on the invoice.

Debit cards: there is no additional charge for purchases made with personal debit cards, issued by a UK bank. Debit cards issued by an overseas bank, deferred and company debit cards and all credit cards will be subject to a 2% surcharge;

Credit cards: Visa and Mastercard only. Please note there is a 2% surcharge on the total invoice value when payments are made using credit cards. It may be advisable to notify your card provider of your intended purchase in advance to reduce delays caused by us having to seek authority when you come to pay. If you have any questions with regard to payment, please contact our Customer Services Department.

China UnionPay (CUP) debit cards: No surcharge for using CUP debit cards will apply on the first £100,000 invoiced to a Buyer in any Sale; a 2% surcharge will be made on the balance over £100,000.

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10. COLLECTION AND STORAGE

The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to Sale Information at the front of the Catalogue. Our offices are open 9.00am – 5pm Monday to Friday. Details relating to the collection of a Lot, the storage of a Lot and our Storage Contractor after the Sale are set out in the Catalogue.

11. SHIPPING

Please refer all enquiries to our shipping department on:Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 Email: [email protected]

12. EXPORT/TRADE RESTRICTIONS

It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licence(s). Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. The detailed provisions of the export licencing arrangements can be found on the ACE website http://www.artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/export-controls/export-licensing/ or by phoning ACE on +44 (0)20 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions. The refusal of any import or export licence(s) or any delay in obtaining such licence(s) shall not permit the rescission of any Sale nor allow any delay in making full payment for the Lot. Generally, please contact our shipping department before the Sale if you require assistance in relation to export regulations.

13. CITES REGULATIONS

Please be aware that all Lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may be requested from:

Animal Health and Veterinary Laboratories Agency (AHVLA) Wildlife LicencingFloor 1, Zone 17, Temple Quay House2 The Square, Temple QuayBRISTOL BS1 6EBTel: +44 (0) 117 372 8774

14. THE SELLERS AND/OR BONHAMS’ LIABILITY

Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale, neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract (if any) or statutory duty, restitutionary claim or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot, or the conduct of any Sale in relation to any Lot, whether in damages, for an indemnity or contribution, or for a restitutionary remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or

indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law or (v) our undertakings under paragraphs 9 (in relation to specialist Stamp or Book Sales only) and 10 of the Buyer’s Agreement. The same applies in respect of the Seller, as if references to us in this paragraph were substituted with references to the Seller.

15. BOOKS

As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Book in the circumstances set out in paragraph 11 of the Buyers Agreement. Please note that Lots comprising printed Books, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

16. CLOCKS AND WATCHES

All Lots are sold “as is”, and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

17. FIREARMS – PROOF, CONDITION AND CERTIFICATION

Proof of Firearms The term “proof exemption” indicates that a firearm has been examined at a Proof House, but not proved, as either (a) it was deemed of interest and not intended for use, or (b) ammunition was not available. In either case, the firearm must be regarded as unsafe to fire unless subsequently proved. Firearms proved for Black Powder should not be used with smokeless ammunition.

The term “Certificate of Unprovability” indicates that a firearm has been examined at a Proof House and is deemed both unsuitable for proof and use. Reproof is required before any such firearm is to be used.

Guns Sold as Parts Barrels of guns sold as parts will only be made available for sleeving and measurements once rendered unserviceable according to the Gun Barrel Proof Act of 1968 to 1978 and the Rules of Proof.

Condition of Firearms Comment in this Catalogue is restricted, in general, to exceptional condition and to those defects that might affect the immediate safety of a firearm in normal use. An intending Bidder unable to make technical examinations and assessments is recommended to seek advice from a gunmaker or from a modern firearms specialist. All prospective Bidders are advised to consult the ˚ of bore and wall-thickness measurements posted in the saleroom and available from the department. Bidders should note that guns are stripped only where there is a strong indication of a mechanical malfunction. Stripping is not, otherwise, undertaken. Guns intended for use should be stripped and cleaned beforehand. Hammer guns should have their rebound mechanisms checked before use. The safety mechanisms of all guns must be tested before use. All measurements are approximate.

Original Gun Specifications Derived from Gunmakers The Sporting Gun Department endeavours to confirm a gun’s original specification and date of manufacture with makers who hold their original records.

Licensing Requirements Firearms Act 1968 as amended Bonhams is constantly reviewing its procedures and would remind you that, in the case of firearms or shotguns subject to certification, to conform with current legislation, Bonhams is required to see, as appropriate, your original registered firearms dealer’s certificate / shot gun certificate / firearm certificate / museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown on your invoice. Should you not already be in possession of such an authority or exemption, you are required to initially pay a deposit of 95% of the total invoice with the balance of 5% payable on presentation of your valid certificate or licence showing your authority to hold the firearm(s) concerned.

Please be advised that if a successful Bidder is then unable to produce the correct paperwork, the Lot(s) will be reoffered by Bonhams in the next appropriate Sale, on standard terms for Sellers, and you will be responsible for any loss incurred by Bonhams on the original Sale to you.

In the case of RFD certificates and Section 5 authorities, we wish to keep an up-to-date copy on file. Please supply us with a Fax or photocopy. It would be helpful if you could send us an updated copy whenever your certificate or authority is renewed or changed.

Lots marked ‘S1´ and bearing red labels are Section 1 firearms and require a valid British Firearms certificate, RFD Licence or import licence.

Lots marked ‘S2’ and bearing blue labels are Section 2 firearms and require a valid British Shotgun certificate, RFD licence or import licence.

Lots marked ‘S5´ and bearing specially marked red labels are Section 5 prohibited firearms and require a valid Section 5 Authority or import licence.

Lots marked with a ‘S58´ and bearing yellow labels are for obsolete calibres and no licence is required unless ammunition is held.

Unmarked Lots require no licence.

Please do not hesitate to contact the Modern Sporting Gun Department should you have any queries.

Taxidermy and Related Items As a Seller of these articles, Bonhams undertakes to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange.

18. FURNITURE

Upholstered Furniture Whilst we take every care in cataloguing furniture which has been upholstered we offer no Guarantee as to the originality of the wood covered by fabric or upholstery.

19. JEWELLERY

Ruby and Jadeite Ruby and jadeite gemstones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non–Burmese origin require certification before import into the US and it is the Buyer’s responsibility to obtain all relevant and required export/import licences, certificates and documentation before shipping. Failure by the Buyer to successfully import goods into the US does not constitute grounds for non payment or cancellation of Sale. Bonhams will not be responsible for any additional costs in this regard howsoever incurred.

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10. COLLECTION AND STORAGE

The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to Sale Information at the front of the Catalogue. Our offices are open 9.00am – 5pm Monday to Friday. Details relating to the collection of a Lot, the storage of a Lot and our Storage Contractor after the Sale are set out in the Catalogue.

11. SHIPPING

Please refer all enquiries to our shipping department on:Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 Email: [email protected]

12. EXPORT/TRADE RESTRICTIONS

It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licence(s). Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. The detailed provisions of the export licencing arrangements can be found on the ACE website http://www.artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/export-controls/export-licensing/ or by phoning ACE on +44 (0)20 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions. The refusal of any import or export licence(s) or any delay in obtaining such licence(s) shall not permit the rescission of any Sale nor allow any delay in making full payment for the Lot. Generally, please contact our shipping department before the Sale if you require assistance in relation to export regulations.

13. CITES REGULATIONS

Please be aware that all Lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may be requested from:

Animal Health and Veterinary Laboratories Agency (AHVLA) Wildlife LicencingFloor 1, Zone 17, Temple Quay House2 The Square, Temple QuayBRISTOL BS1 6EBTel: +44 (0) 117 372 8774

14. THE SELLERS AND/OR BONHAMS’ LIABILITY

Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale, neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract (if any) or statutory duty, restitutionary claim or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot, or the conduct of any Sale in relation to any Lot, whether in damages, for an indemnity or contribution, or for a restitutionary remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or

indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law or (v) our undertakings under paragraphs 9 (in relation to specialist Stamp or Book Sales only) and 10 of the Buyer’s Agreement. The same applies in respect of the Seller, as if references to us in this paragraph were substituted with references to the Seller.

15. BOOKS

As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Book in the circumstances set out in paragraph 11 of the Buyers Agreement. Please note that Lots comprising printed Books, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

16. CLOCKS AND WATCHES

All Lots are sold “as is”, and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

17. FIREARMS – PROOF, CONDITION AND CERTIFICATION

Proof of Firearms The term “proof exemption” indicates that a firearm has been examined at a Proof House, but not proved, as either (a) it was deemed of interest and not intended for use, or (b) ammunition was not available. In either case, the firearm must be regarded as unsafe to fire unless subsequently proved. Firearms proved for Black Powder should not be used with smokeless ammunition.

The term “Certificate of Unprovability” indicates that a firearm has been examined at a Proof House and is deemed both unsuitable for proof and use. Reproof is required before any such firearm is to be used.

Guns Sold as Parts Barrels of guns sold as parts will only be made available for sleeving and measurements once rendered unserviceable according to the Gun Barrel Proof Act of 1968 to 1978 and the Rules of Proof.

Condition of Firearms Comment in this Catalogue is restricted, in general, to exceptional condition and to those defects that might affect the immediate safety of a firearm in normal use. An intending Bidder unable to make technical examinations and assessments is recommended to seek advice from a gunmaker or from a modern firearms specialist. All prospective Bidders are advised to consult the ˚ of bore and wall-thickness measurements posted in the saleroom and available from the department. Bidders should note that guns are stripped only where there is a strong indication of a mechanical malfunction. Stripping is not, otherwise, undertaken. Guns intended for use should be stripped and cleaned beforehand. Hammer guns should have their rebound mechanisms checked before use. The safety mechanisms of all guns must be tested before use. All measurements are approximate.

Original Gun Specifications Derived from Gunmakers The Sporting Gun Department endeavours to confirm a gun’s original specification and date of manufacture with makers who hold their original records.

Licensing Requirements Firearms Act 1968 as amended Bonhams is constantly reviewing its procedures and would remind you that, in the case of firearms or shotguns subject to certification, to conform with current legislation, Bonhams is required to see, as appropriate, your original registered firearms dealer’s certificate / shot gun certificate / firearm certificate / museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown on your invoice. Should you not already be in possession of such an authority or exemption, you are required to initially pay a deposit of 95% of the total invoice with the balance of 5% payable on presentation of your valid certificate or licence showing your authority to hold the firearm(s) concerned.

Please be advised that if a successful Bidder is then unable to produce the correct paperwork, the Lot(s) will be reoffered by Bonhams in the next appropriate Sale, on standard terms for Sellers, and you will be responsible for any loss incurred by Bonhams on the original Sale to you.

In the case of RFD certificates and Section 5 authorities, we wish to keep an up-to-date copy on file. Please supply us with a Fax or photocopy. It would be helpful if you could send us an updated copy whenever your certificate or authority is renewed or changed.

Lots marked ‘S1´ and bearing red labels are Section 1 firearms and require a valid British Firearms certificate, RFD Licence or import licence.

Lots marked ‘S2’ and bearing blue labels are Section 2 firearms and require a valid British Shotgun certificate, RFD licence or import licence.

Lots marked ‘S5´ and bearing specially marked red labels are Section 5 prohibited firearms and require a valid Section 5 Authority or import licence.

Lots marked with a ‘S58´ and bearing yellow labels are for obsolete calibres and no licence is required unless ammunition is held.

Unmarked Lots require no licence.

Please do not hesitate to contact the Modern Sporting Gun Department should you have any queries.

Taxidermy and Related Items As a Seller of these articles, Bonhams undertakes to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange.

18. FURNITURE

Upholstered Furniture Whilst we take every care in cataloguing furniture which has been upholstered we offer no Guarantee as to the originality of the wood covered by fabric or upholstery.

19. JEWELLERY

Ruby and Jadeite Ruby and jadeite gemstones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non–Burmese origin require certification before import into the US and it is the Buyer’s responsibility to obtain all relevant and required export/import licences, certificates and documentation before shipping. Failure by the Buyer to successfully import goods into the US does not constitute grounds for non payment or cancellation of Sale. Bonhams will not be responsible for any additional costs in this regard howsoever incurred.

NTB/MAIN/06.15

Gemstones Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining, irradiation or coating may have been used on other gemstones. These treatments may be permanent, whilst others may need special care or re-treatment over the years to retain their appearance. Bidders should be aware that Estimates assume that gemstones may have been subjected to such treatments. A number of laboratories issue certificates that give more detailed Descriptions of gemstones. However there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. In the event that Bonhams has been given or has obtained certificates for any Lot in the Sale these certificates will be disclosed in the Catalogue. Although, as a matter of policy, Bonhams endeavours to provide certificates from recognised laboratories for certain gemstones, it is not feasible to obtain certificates for each Lot. In the event that no certificate is published in the Catalogue, Bidders should assume that the gemstones may have been treated. Neither Bonhams nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any Lots subsequent to the Sale.

Estimated Weights If a stone(s) weight appears within the body of the Description in capital letters, the stone(s) has been unmounted and weighed by Bonhams. If the weight of the stone(s) is stated to be approximate and does not appear in capital letters, the stone(s) has been assessed by us within its/their settings, and the stated weight is a statement of our opinion only. This information is given as a guide and Bidders should satisfy themselves with regard to this information as to its accuracy.

Signatures 1. A diamond brooch, by Kutchinsky When the maker’s name appears in the title, in Bonhams’ opinion the piece is by that maker.

2. A diamond brooch, signed Kutchinsky Has a signature that, in Bonhams’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

3. A diamond brooch, mounted by Kutchinsky Has been created by the jeweller, in Bonhams’ opinion, but using stones or designs supplied by the client.

20. PHOTOGRAPHS

Explanation of Catalogue Terms• “Bill Brandt”: in our opinion a work by the artist.• “Attributed to Bill Brandt”: in our opinion probably a work by

the artist, but less certainty to authorship is expressed than in the preceding category.

• “Signed and/or titled and/or dated and/or inscribed”: in our opinion the signature and/or title and/or date and/or inscription are in the artist’s hand.

• “Signed and/or titled and/or dated and/or inscribed in another hand”: in our opinion the signature and/or title and/or date and/or inscription have been added by another hand.

• The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot Description). A vintage photograph is one which was made within approximately 5-10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be later, “printed later” will appear in the Lot Description.

• Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the Catalogue without margins illustrated.

• All photographs are sold unframed unless stated in the Lot Description.

21. PICTURES

Explanation of Catalogue Terms The following terms used in the Catalogue have the following meanings but are subject to the general provisions relating to Descriptions contained in the Contract for Sale:• “Jacopo Bassano”: in our opinion a work by the artist.

When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named;

• “Attributed to Jacopo Bassano”: in our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category;

• “Studio/Workshop of Jacopo Bassano”: in our opinion a work by an unknown hand in a studio of the artist which may or may not have been executed under the artist’s direction;

• “Circle of Jacopo Bassano”: in our opinion a work by a hand closely associated with a named artist but not necessarily his pupil;

• “Follower of Jacopo Bassano”: in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil;

• “Manner of Jacopo Bassano”: in our opinion a work in the style of the artist and of a later date;

• “After Jacopo Bassano”: in our opinion, a copy of a known work of the artist;

• “Signed and/or dated and/or inscribed”: in our opinion the signature and/or date and/or inscription are from the hand of the artist;

• “Bears a signature and/or date and/or inscription”: in our opinion the signature and/or date and/or inscription have been added by another hand.

22. PORCELAIN AND GLASS

Damage and Restoration For your guidance, in our Catalogues we detail, as far as practicable, recorded all significant defects, cracks and restoration. Such practicable Descriptions of damage cannot be definitive, and in providing Condition Reports, we cannot Guarantee that there are no other defects present which have not been mentioned. Bidders should satisfy themselves by inspection, as to the condition of each Lot. Please see the Contract for Sale printed in this Catalogue. Because of the difficulty in determining whether an item of glass has been repolished, in our Catalogues reference is only made to visible chips and cracks. No mention is made of repolishing, severe or otherwise.

23. VEHICLES

The Veteran Car Club of Great Britain Dating Plates and Certificates When mention is made of a Veteran Car Club Dating Plate or Dating Certificate in this Catalogue, it should be borne in mind that the Veteran Car Club of Great Britain using the services of Veteran Car Company Ltd, does from time to time, review cars already dated and, in some instances, where fresh evidence becomes available, the review can result in an alteration of date. Whilst the Club and Veteran Car Company Ltd make every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should make their own enquiries as to the date of the car.

24. WINE

Lots which are lying under Bond and those liable to VAT may not be available for immediate collection.

Examining the wines It is occasionally possible to provide a pre-Sale tasting for larger parcels (as defined below). This is generally limited to more recent and everyday drinking wines. Please contact the department for details.

It is not our policy to inspect every unopened case. In the case of wines older than 20 years the boxes will usually have been opened and levels and appearance noted in the Catalogue where necessary. You should make proper allowance for variations in ullage levels and conditions of corks, capsules and labels.

Corks and Ullages Ullage refers to the space between the base of the cork and the wine. Ullage levels for Bordeaux shaped bottles are only normally noted when below the neck and for Burgundy, Alsace, German and Cognac shaped bottles when greater than 4 centimetres (cm). Acceptable ullage levels increase with age; generally acceptable levels are as follows:

Under 15 years old – into neck or less than 4cm15 to 30 years old – top shoulder (ts) or up to 5cmOver 30 years old – high shoulder (hs) or up to 6cm

It should be noted that ullages may change between publication of the Catalogue and the Sale and that corks may fail as a result of transporting the wine. We will only accept responsibility for Descriptions of condition at the time of publication of the Catalogue and cannot accept responsibility for any loss resulting from failure of corks either before or after this point.

Options to buy parcels A parcel is a number of Lots of identical size of the same wine, bottle size and Description. The Buyer of any of these Lots has the option to accept some or all of the remaining Lots in the parcel at the same price, although such options will be at the Auctioneer’s sole discretion. Absentee Bidders are, therefore, advised to bid on the first Lot in a parcel.

Wines in Bond Wines lying in Bond are marked Δ and VAT is payable by the purchaser, at the standard rate, on the Hammer Price, unless the wines are to remain under Bond. Buyers requiring their wine to remain in Bond must notify Bonhams at the time of the Sale. The Buyer is then himself responsible for all duty, clearance VAT and other charges that may be payable thereon. All such Lots must be transferred or collected within two weeks of the Sale.

Buyers outside the UK must be aware that any forwarding agent appointed to export their purchases must have a movement certificate for Lots to be released under Bond.

Bottling Details and Case Terms The following terms used in the Catalogue have the following meanings:CB – Château bottled DB – Domaine bottledEstB – Estate bottled BB – Bordeaux bottledBE – Belgian bottledFB – French bottledGB – German bottledOB – Oporto bottledUK – United Kingdom bottledowc – original wooden caseiwc – individual wooden caseoc – original carton

NTB/MAIN/06.15

SYMBOLS

THE FOLLOWING SYMBOLS ARE USED TO DENOTE

Y Subject to CITES regulations when exporting these items outside the EU, see clause 13.

W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for collection from this location.

≈ Please note that as a result of recent legislation ruby and jadeite gem stones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non-Burmese origin require certification before import into the US.

Δ Wines lying in Bond.AR An Additional Premium will be payable to us by the Buyer

to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See clause 7 for details.

The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful Sale or a financial loss if unsuccessful.

Bonhams owns the Lot either wholly or partially or may otherwise have an economic interest.

Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into

the USA.

•, †, *, G, Ω, a see clause 8, VAT, for details.

DATA PROTECTION – USE OF YOUR INFORMATION

Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London, W1S 1SR or by email from [email protected]

APPENDIX 1

CONTRACT FOR SALE

IMPORTANT: These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different terms in the Catalogue for the Sale and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale at the Sale venue. You should be alert to this possibility of changes and ask in advance of bidding if there have been any.

Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/or obtain an independent examination of it before you buy it.

1 THE CONTRACT

1.1 These terms govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2 The Definitions and Glossary contained in Appendix 3 in the Catalogue are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request. Where words and phrases are used which are in the List of Definitions, they are printed in italics.

1.3 The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you.

2 SELLER’S UNDERTAKINGS

2.1 The Seller undertakes to you that:

2.1.1 the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner;

2.1.2 save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee, liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot;

2.1.3 except where the Sale is by an executor, trustee, liquidator, receiver or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot and that the Sale conforms in every respect with the terms implied by the Sale of Goods Act 1979, Sections 12(1) and 12(2) (see the Definitions and Glossary);

2.1.4 the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past;

2.1.5 subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue and the contents of any Condition Report which has been provided to the Buyer.

3 DESCRIPTIONS OF THE LOT

3.1 Paragraph 2.1.5 sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with that part of the Entry in the Catalogue which is not printed in bold letters, which merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.5 (together with any express alteration to it as referred to in paragraph 2.1.5), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

3.2 Except as provided in paragraph 2.1.5, the Seller does not make or give and does not agree to make or give any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact, or undertake any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by or on behalf of the Seller including by Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4 FITNESS FOR PURPOSE AND SATISFACTORY QUALITY

4.1 The Seller does not make and does not agree to make any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose.

5 RISK, PROPERTY AND TITLE

5.1 Risk in the Lot passes to you when it is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the Seller fully indemnified from and against all claims, proceedings, costs, expenses and losses arising in respect of any injury, loss and damage caused to the Lot after the fall of the Auctioneer’s hammer until you obtain full title to it.

5.2 Title to the Lot remains in and is retained by the Seller until the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to, and received in cleared funds by, Bonhams.

6 PAYMENT

6.1 Your obligation to pay the Purchase Price arises when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot.

6.2 Time will be of the essence in relation to payment of the Purchase Price and all other sums payable by you to Bonhams. Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second working day following the Sale and you must ensure that the funds are cleared by the seventh working day after the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in accordance with this paragraph, the Seller will have the rights set out in paragraph 8 below.

7 COLLECTION OF THE LOT

7.1 Unless otherwise agreed in writing with you by Bonhams, the Lot will be released to you or to your order only when Bonhams has received cleared funds to the amount of the full Purchase Price and all other sums owed by you to the Seller and to Bonhams.

7.2 The Seller is entitled to withhold possession from you of any other Lot he has sold to you at the same or at any other Sale and whether currently in Bonhams’ possession or not until payment in full and in cleared funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot.

7.3 You will collect and remove the Lot at your own expense from Bonhams’ custody and/ or control or from the Storage Contractor’s custody in accordance with Bonhams’ instructions or requirements.

7.4 You will be wholly responsible for packing, handling and transport of the Lot on collection and for complying with all import or export regulations in connection with the Lot.

7.5 You will be wholly responsible for any removal, storage or other charges or Expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, Expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

NTB/MAIN/06.15

SYMBOLS

THE FOLLOWING SYMBOLS ARE USED TO DENOTE

Y Subject to CITES regulations when exporting these items outside the EU, see clause 13.

W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for collection from this location.

≈ Please note that as a result of recent legislation ruby and jadeite gem stones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non-Burmese origin require certification before import into the US.

Δ Wines lying in Bond.AR An Additional Premium will be payable to us by the Buyer

to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See clause 7 for details.

The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful Sale or a financial loss if unsuccessful.

Bonhams owns the Lot either wholly or partially or may otherwise have an economic interest.

Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into

the USA.

•, †, *, G, Ω, a see clause 8, VAT, for details.


Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London, W1S 1SR or by email from [email protected]

APPENDIX 1

CONTRACT FOR SALE


Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/or obtain an independent examination of it before you buy it.

1 THE CONTRACT

1.1 These terms govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2 The Definitions and Glossary contained in Appendix 3 in the Catalogue are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request. Where words and phrases are used which are in the List of Definitions, they are printed in italics.

1.3 The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you.

2 SELLER’S UNDERTAKINGS

2.1 The Seller undertakes to you that:

2.1.1 the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner;

2.1.2 save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee, liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot;

2.1.3 except where the Sale is by an executor, trustee, liquidator, receiver or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot and that the Sale conforms in every respect with the terms implied by the Sale of Goods Act 1979, Sections 12(1) and 12(2) (see the Definitions and Glossary);

2.1.4 the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past;

2.1.5 subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue and the contents of any Condition Report which has been provided to the Buyer.

3 DESCRIPTIONS OF THE LOT

3.1 Paragraph 2.1.5 sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with that part of the Entry in the Catalogue which is not printed in bold letters, which merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.5 (together with any express alteration to it as referred to in paragraph 2.1.5), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

3.2 Except as provided in paragraph 2.1.5, the Seller does not make or give and does not agree to make or give any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact, or undertake any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by or on behalf of the Seller including by Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4 FITNESS FOR PURPOSE AND SATISFACTORY QUALITY

4.1 The Seller does not make and does not agree to make any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose.

5 RISK, PROPERTY AND TITLE

5.1 Risk in the Lot passes to you when it is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the Seller fully indemnified from and against all claims, proceedings, costs, expenses and losses arising in respect of any injury, loss and damage caused to the Lot after the fall of the Auctioneer’s hammer until you obtain full title to it.

5.2 Title to the Lot remains in and is retained by the Seller until the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to, and received in cleared funds by, Bonhams.

6 PAYMENT

6.1 Your obligation to pay the Purchase Price arises when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot.

6.2 Time will be of the essence in relation to payment of the Purchase Price and all other sums payable by you to Bonhams. Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second working day following the Sale and you must ensure that the funds are cleared by the seventh working day after the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in accordance with this paragraph, the Seller will have the rights set out in paragraph 8 below.


7.1 Unless otherwise agreed in writing with you by Bonhams, the Lot will be released to you or to your order only when Bonhams has received cleared funds to the amount of the full Purchase Price and all other sums owed by you to the Seller and to Bonhams.

7.2 The Seller is entitled to withhold possession from you of any other Lot he has sold to you at the same or at any other Sale and whether currently in Bonhams’ possession or not until payment in full and in cleared funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot.

7.3 You will collect and remove the Lot at your own expense from Bonhams’ custody and/ or control or from the Storage Contractor’s custody in accordance with Bonhams’ instructions or requirements.


7.5 You will be wholly responsible for any removal, storage or other charges or Expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, Expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

NTB/MAIN/06.15

8 FAILURE TO PAY FOR THE LOT

8.1 If the Purchase Price for a Lot is not paid to Bonhams in full in accordance with the Contract for Sale the Seller will be entitled, with the prior written agreement of Bonhams but without further notice to you, to exercise one or more of the following rights (whether through Bonhams or otherwise):

8.1.1 to terminate immediately the Contract for Sale of the Lot for your breach of contract;

8.1.2 to resell the Lot by auction, private treaty or any other means on giving seven days’ written notice to you of the intention to resell;

8.1.3 to retain possession of the Lot;

8.1.4 to remove and store the Lot at your expense;

8.1.5 to take legal proceedings against you for any sum due under the Contract for Sale and/or damages for breach of contract;

8.1.6 to be paid interest on any monies due (after as well as before judgement or order) at the annual rate of 5% per annum above the base rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

8.1.7 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless the Buyer buys the Lot as a Consumer from the Seller selling in the course of a Business) you hereby grant an irrevocable licence to the Seller by himself and to his servants or agents to enter upon all or any of your premises (with or without vehicles) during normal Business hours to take possession of the Lot or part thereof;

8.1.8 to retain possession of any other property sold to you by the Seller at the Sale or any other auction or by private treaty until all sums due under the Contract for Sale shall have been paid in full in cleared funds;

8.1.9 to retain possession of, and on three months’ written notice to sell, Without Reserve, any of your other property in the possession of the Seller and/or of Bonhams (as bailee for the Seller) for any purpose (including, without limitation, other goods sold to you) and to apply any monies due to you as a result of such Sale in satisfaction or part satisfaction of any amounts owed to the Seller or to Bonhams; and

8.1.10 so long as such goods remain in the possession of the Seller or Bonhams as its bailee, to rescind the contract for the Sale of any other goods sold to you by the Seller at the Sale or at any other auction or by private treaty and apply any monies received from you in respect of such goods in part or full satisfaction of any amounts owed to the Seller or to Bonhams by you.

8.2 You agree to indemnify the Seller against all legal and other costs of enforcement, all losses and other Expenses and costs (including any monies payable to Bonhams in order to obtain the release of the Lot) incurred by the Seller (whether or not court proceedings will have been issued) as a result of Bonhams taking steps under this paragraph 8 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until payment by you.

8.3 On any resale of the Lot under paragraph 8.1.2, the Seller will account to you in respect of any balance remaining from any monies received by him or on his behalf in respect of the Lot, after the payment of all sums due to the Seller and to Bonhams, within 28 days of receipt of such monies by him or on his behalf.

9 THE SELLER’S LIABILITY

9.1 The Seller will not be liable for any injury, loss or damage caused by the Lot after the fall of the Auctioneer’s hammer in respect of the Lot.

9.2 Subject to paragraph 9.3 below, except for breach of the express undertaking provided in paragraph 2.1.5, the Seller will not be liable for any breach of any term that the Lot will correspond with any Description applied to it by or on behalf of the Seller, whether implied by the Sale of Goods Act 1979 or otherwise.

9.3 Unless the Seller sells the Lot in the course of a Business and the Buyer buys it as a Consumer,

9.3.1 the Seller will not be liable (whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967, or in any other way) for any lack of conformity with, or inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in relation to the Lot made by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale;

9.3.2 the Seller will not be liable for any loss of Business, Business profits or revenue or income or for loss of reputation or for disruption to Business or wasted time on the part of the Buyer or of the Buyer’s management or staff or, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, restitutionary claim or otherwise;

9.3.3 in any circumstances where the Seller is liable to you in respect of the Lot, or any act, omission, statement, or representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, the Seller’s liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract, statutory duty, bailee’s duty, restitutionary claim or otherwise.

9.4 Nothing set out in paragraphs 9.1 to 9.3 above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by the Seller’s negligence (or any person under the Seller’s control or for whom the Seller is legally responsible), or (iii) acts or omissions for which the Seller is liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law.

10 MISCELLANEOUS

10.1 You may not assign either the benefit or burden of the Contract for Sale.

10.2 The Seller’s failure or delay in enforcing or exercising any power or right under the Contract for Sale will not operate or be deemed to operate as a waiver of his rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect the Seller’s ability subsequently to enforce any right arising under the Contract for Sale.

10.3 If either party to the Contract for Sale is prevented from performing that party’s respective obligations under the Contract for Sale by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 6.

10.4 Any notice or other communication to be given under the Contract for Sale must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission, if to the Seller, addressed c/o Bonhams at its address or fax number in the Catalogue (marked for the attention of the Company Secretary), and if to you to the address or fax number of the Buyer given in the Bidding Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

10.5 If any term or any part of any term of the Contract for Sale is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

10.6 References in the Contract for Sale to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

10.7 The headings used in the Contract for Sale are for convenience only and will not affect its interpretation.

10.8 In the Contract for Sale “including” means “including, without limitation”.

10.9 References to the singular will include reference to the plural (and vice versa) and reference to any one gender will include reference to the other genders.

10.10 Reference to a numbered paragraph is to a paragraph of the Contract for Sale.

10.11 Save as expressly provided in paragraph 10.12 nothing in the Contract for Sale confers (or purports to confer) on any person who is not a party to the Contract for Sale any benefit conferred by, or the right to enforce any term of, the Contract for Sale.

10.12 Where the Contract for Sale confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of the Seller, it will also operate in favour and for the benefit of Bonhams, Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

11 GOVERNING LAW

All transactions to which the Contract for Sale applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes place and the Seller and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that the Seller may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.

140 | BONHAMS NTB/MAIN/06.15

APPENDIX 2

BUYER’S AGREEMENT


1 THE CONTRACT

1.1 These terms govern the contract between Bonhams personally and the Buyer, being the person to whom a Lot has been knocked down by the Auctioneer.

1.2 The Definitions and Glossary contained in Appendix 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also be provided by us on request. Where words and phrases which are defined in the List of Definitions are used in this agreement, they are printed in italics. Reference is made in this agreement to information printed in the Notice to Bidders, printed in the Catalogue for the Sale, and where such information is referred to it is incorporated into this agreement.

1.3 Except as specified in paragraph 4 of the Notice to Bidders the Contract for Sale of the Lot between you and the Seller is made on the fall of the Auctioneer’s hammer in respect of the Lot, when it is knocked down to you. At that moment a separate contract is also made between you and Bonhams on the terms in this Buyer’s Agreement.

1.4 We act as agents for the Seller and are not answerable or personally responsible to you for any breach of contract or other default by the Seller, unless Bonhams sells the Lot as principal.

1.5 Our personal obligations to you are governed by this agreement and we agree, subject to the terms below, to the following obligations:

1.5.1 we will, until the date and time specified in the Notice to Bidders or otherwise notified to you, store the Lot in accordance with paragraph 5;

1.5.2 subject to any power of the Seller or us to refuse to release the Lot to you, we will release the Lot to you in accordance with paragraph 4 once you have paid to us, in cleared funds, everything due to us and the Seller;

1.5.3 we will provide guarantees in the terms set out in paragraphs 9 and 10.

1.6 We do not make or give and do not agree to make or give any contractual promise, undertaking, obligation, Guarantee, warranty, representation of fact in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by us or on our behalf or by or on behalf of the Seller (whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise), and whether made before or after this agreement or prior to or during the Sale. No such Description or Estimate is incorporated into this agreement between you and us. Any such Description or Estimate, if made by us or on our behalf, was (unless Bonhams itself sells the Lot as principal) made as agent on behalf of the Seller.

2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

3 PAYMENT

3.1 Unless agreed in writing between you and us or as otherwise set out in the Notice to Bidders, you must pay to us by not later than 4.30pm on the second working day following the Sale:

3.1.1 the Purchase Price for the Lot;

3.1.2 a Buyer’s Premium in accordance with the rates set out in the Notice to Bidders, and

3.1.3 if the Lot is marked [AR], an Additional Premium which is calculated and payable in accordance with the Notice to Bidders together with VAT on that sum if applicable so that all sums due to us are cleared funds by the seventh working day after the Sale.

3.2 You must also pay us on demand any Expenses payable pursuant to this agreement.

3.3 All payments to us must be made in the currency in which the Sale was conducted, using, unless otherwise agreed by us in writing, one of the methods of payment set out in the Notice to Bidders. Our invoices will only be addressed to the registered Bidder unless the Bidder is acting as an agent for a named principal and we have approved that arrangement, in which case we will address the invoice to the principal.

3.4 Unless otherwise stated in this agreement all sums payable to us will be subject to VAT at the appropriate rate and VAT will be payable by you on all such sums.

3.5 We may deduct and retain for our own benefit from the monies paid by you to us the Buyer’s Premium, the Commission payable by the Seller in respect of the Lot, any Expenses and VAT and any interest earned and/or incurred until payment to the Seller.

3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the Purchase Price, or any other sum due to us in accordance with this paragraph 3, we will have the rights set out in paragraph 7 below.

3.7 Where a number of Lots have been knocked down to you, any monies we receive from you will be applied firstly pro-rata to pay the Purchase Price of each Lot and secondly pro-rata to pay all amounts due to Bonhams.


4.1 Subject to any power of the Seller or us to refuse to release the Lot to you, once you have paid to us, in cleared funds, everything due to the Seller and to us, we will release the Lot to you or as you may direct us in writing. The Lot will only be released on production of a buyer collection document, obtained from our cashier’s office.

4.2 You must collect and remove the Lot at your own expense by the date and time specified in the Notice to Bidders, or if no date is specified, by 4.30pm on the seventh day after the Sale.

4.3 For the period referred to in paragraph 4.2, the Lot can be collected from the address referred to in the Notice to Bidders for collection on the days and times specified in the Notice to Bidders. Thereafter, the Lot may be removed elsewhere for storage and you must enquire from us as to when and where you can collect it, although this information will usually be set out in the Notice to Bidders.

4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then current standard terms and conditions agreed between Bonhams and the Storage Contractor (copies of which are available on request). If the Lot is stored at our premises storage fees at our current daily rates (currently a minimum of £3 plus VAT per Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage fees form part of our Expenses.

4.5 Until you have paid the Purchase Price and any Expenses in full the Lot will either be held by us as agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and ourselves on the terms contained in the Storage Contract.

4.6 You undertake to comply with the terms of any Storage Contract and in particular to pay the charges (and all costs of moving the Lot into storage) due under any Storage Contract. You acknowledge and agree that you will not be able to collect the Lot from the Storage Contractor’s premises until you have paid the Purchase Price, any Expenses and all charges due under the Storage Contract.


4.8 You will be wholly responsible for any removal, storage, or other charges for any Lot not removed in accordance with paragraph 4.2, payable at our current rates, and any Expenses we incur (including any charges due under the Storage Contract), all of which must be paid by you on demand and in any event before any collection of the Lot by you or on your behalf.

5 STORING THE LOT

We agree to store the Lot until the earlier of your removal of the Lot or until the time and date set out in the Notice to Bidders, on the Sale Information Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the Sale) and, subject to paragraphs 6 and 10, to be responsible as bailee to you for damage to or the loss or destruction of the Lot (notwithstanding that it is not your property before payment of the Purchase Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no date is specified, by 4.30pm on the seventh day after the Sale) we may remove the Lot to another location, the details of which will usually be set out in the relevant section of the Catalogue. If you have not paid for the Lot in accordance with paragraph 3, and the Lot is moved to any third party’s premises, the Lot will be held by such third party strictly to Bonhams’ order and we will retain our lien over the Lot until we have been paid in full in accordance with paragraph 3.

6 RESPONSIBILITY FOR THE LOT

6.1 Only on the payment of the Purchase Price to us will title in the Lot pass to you. However under the Contract for Sale, the risk in the Lot passed to you when it was knocked down to you.

6.2 You are advised to obtain insurance in respect of the Lot as soon as possible after the Sale.

NTB/MAIN/06.15

APPENDIX 2

BUYER’S AGREEMENT


1 THE CONTRACT

1.1 These terms govern the contract between Bonhams personally and the Buyer, being the person to whom a Lot has been knocked down by the Auctioneer.

1.2 The Definitions and Glossary contained in Appendix 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also be provided by us on request. Where words and phrases which are defined in the List of Definitions are used in this agreement, they are printed in italics. Reference is made in this agreement to information printed in the Notice to Bidders, printed in the Catalogue for the Sale, and where such information is referred to it is incorporated into this agreement.

1.3 Except as specified in paragraph 4 of the Notice to Bidders the Contract for Sale of the Lot between you and the Seller is made on the fall of the Auctioneer’s hammer in respect of the Lot, when it is knocked down to you. At that moment a separate contract is also made between you and Bonhams on the terms in this Buyer’s Agreement.

1.4 We act as agents for the Seller and are not answerable or personally responsible to you for any breach of contract or other default by the Seller, unless Bonhams sells the Lot as principal.

1.5 Our personal obligations to you are governed by this agreement and we agree, subject to the terms below, to the following obligations:

1.5.1 we will, until the date and time specified in the Notice to Bidders or otherwise notified to you, store the Lot in accordance with paragraph 5;

1.5.2 subject to any power of the Seller or us to refuse to release the Lot to you, we will release the Lot to you in accordance with paragraph 4 once you have paid to us, in cleared funds, everything due to us and the Seller;

1.5.3 we will provide guarantees in the terms set out in paragraphs 9 and 10.

1.6 We do not make or give and do not agree to make or give any contractual promise, undertaking, obligation, Guarantee, warranty, representation of fact in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by us or on our behalf or by or on behalf of the Seller (whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise), and whether made before or after this agreement or prior to or during the Sale. No such Description or Estimate is incorporated into this agreement between you and us. Any such Description or Estimate, if made by us or on our behalf, was (unless Bonhams itself sells the Lot as principal) made as agent on behalf of the Seller.

2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

3 PAYMENT

3.1 Unless agreed in writing between you and us or as otherwise set out in the Notice to Bidders, you must pay to us by not later than 4.30pm on the second working day following the Sale:

3.1.1 the Purchase Price for the Lot;

3.1.2 a Buyer’s Premium in accordance with the rates set out in the Notice to Bidders, and

3.1.3 if the Lot is marked [AR], an Additional Premium which is calculated and payable in accordance with the Notice to Bidders together with VAT on that sum if applicable so that all sums due to us are cleared funds by the seventh working day after the Sale.

3.2 You must also pay us on demand any Expenses payable pursuant to this agreement.

3.3 All payments to us must be made in the currency in which the Sale was conducted, using, unless otherwise agreed by us in writing, one of the methods of payment set out in the Notice to Bidders. Our invoices will only be addressed to the registered Bidder unless the Bidder is acting as an agent for a named principal and we have approved that arrangement, in which case we will address the invoice to the principal.

3.4 Unless otherwise stated in this agreement all sums payable to us will be subject to VAT at the appropriate rate and VAT will be payable by you on all such sums.

3.5 We may deduct and retain for our own benefit from the monies paid by you to us the Buyer’s Premium, the Commission payable by the Seller in respect of the Lot, any Expenses and VAT and any interest earned and/or incurred until payment to the Seller.

3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the Purchase Price, or any other sum due to us in accordance with this paragraph 3, we will have the rights set out in paragraph 7 below.

3.7 Where a number of Lots have been knocked down to you, any monies we receive from you will be applied firstly pro-rata to pay the Purchase Price of each Lot and secondly pro-rata to pay all amounts due to Bonhams.


4.1 Subject to any power of the Seller or us to refuse to release the Lot to you, once you have paid to us, in cleared funds, everything due to the Seller and to us, we will release the Lot to you or as you may direct us in writing. The Lot will only be released on production of a buyer collection document, obtained from our cashier’s office.

4.2 You must collect and remove the Lot at your own expense by the date and time specified in the Notice to Bidders, or if no date is specified, by 4.30pm on the seventh day after the Sale.

4.3 For the period referred to in paragraph 4.2, the Lot can be collected from the address referred to in the Notice to Bidders for collection on the days and times specified in the Notice to Bidders. Thereafter, the Lot may be removed elsewhere for storage and you must enquire from us as to when and where you can collect it, although this information will usually be set out in the Notice to Bidders.

4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then current standard terms and conditions agreed between Bonhams and the Storage Contractor (copies of which are available on request). If the Lot is stored at our premises storage fees at our current daily rates (currently a minimum of £3 plus VAT per Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage fees form part of our Expenses.

4.5 Until you have paid the Purchase Price and any Expenses in full the Lot will either be held by us as agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and ourselves on the terms contained in the Storage Contract.

4.6 You undertake to comply with the terms of any Storage Contract and in particular to pay the charges (and all costs of moving the Lot into storage) due under any Storage Contract. You acknowledge and agree that you will not be able to collect the Lot from the Storage Contractor’s premises until you have paid the Purchase Price, any Expenses and all charges due under the Storage Contract.


4.8 You will be wholly responsible for any removal, storage, or other charges for any Lot not removed in accordance with paragraph 4.2, payable at our current rates, and any Expenses we incur (including any charges due under the Storage Contract), all of which must be paid by you on demand and in any event before any collection of the Lot by you or on your behalf.

5 STORING THE LOT

We agree to store the Lot until the earlier of your removal of the Lot or until the time and date set out in the Notice to Bidders, on the Sale Information Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the Sale) and, subject to paragraphs 6 and 10, to be responsible as bailee to you for damage to or the loss or destruction of the Lot (notwithstanding that it is not your property before payment of the Purchase Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no date is specified, by 4.30pm on the seventh day after the Sale) we may remove the Lot to another location, the details of which will usually be set out in the relevant section of the Catalogue. If you have not paid for the Lot in accordance with paragraph 3, and the Lot is moved to any third party’s premises, the Lot will be held by such third party strictly to Bonhams’ order and we will retain our lien over the Lot until we have been paid in full in accordance with paragraph 3.

6 RESPONSIBILITY FOR THE LOT

6.1 Only on the payment of the Purchase Price to us will title in the Lot pass to you. However under the Contract for Sale, the risk in the Lot passed to you when it was knocked down to you.

6.2 You are advised to obtain insurance in respect of the Lot as soon as possible after the Sale.

NTB/MAIN/06.15

7 FAILURE TO PAY OR TO REMOVE THE LOT AND PART PAYMENTS

7.1 If all sums payable to us are not so paid in full at the time they are due and/or the Lot is not removed in accordance with this agreement, we will without further notice to you be entitled to exercise one or more of the following rights (without prejudice to any rights we may exercise on behalf of the Seller):

7.1.1 to terminate this agreement immediately for your breach of contract;

7.1.2 to retain possession of the Lot;

7.1.3 to remove, and/or store the Lot at your expense;

7.1.4 to take legal proceedings against you for payment of any sums payable to us by you (including the Purchase Price) and/or damages for breach of contract;

7.1.5 to be paid interest on any monies due to us (after as well as before judgement or order) at the annual rate of 5% per annum above the base lending rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

7.1.6 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless you buy the Lot as a Consumer) you hereby grant an irrevocable licence to us, by ourselves, our servants or agents, to enter upon all or any of your premises (with or without vehicles) during normal business hours to take possession of any Lot or part thereof;

7.1.7 to sell the Lot Without Reserve by auction, private treaty or any other means on giving you three months’ written notice of our intention to do so;

7.1.8 to retain possession of any of your other property in our possession for any purpose (including, without limitation, other goods sold to you or with us for Sale) until all sums due to us have been paid in full;

7.1.9 to apply any monies received from you for any purpose whether at the time of your default or at any time thereafter in payment or part payment of any sums due to us by you under this agreement;

7.1.10 on three months’ written notice to sell, Without Reserve, any of your other property in our possession or under our control for any purpose (including other goods sold to you or with us for Sale) and to apply any monies due to you as a result of such Sale in payment or part payment of any amounts owed to us;

7.1.11 refuse to allow you to register for a future Sale or to reject a bid from you at any future Sale or to require you to pay a deposit before any bid is accepted by us at any future Sale in which case we will be entitled to apply such deposit in payment or part payment, as the case may be, of the Purchase Price of any Lot of which you are the Buyer.

7.2 You agree to indemnify us against all legal and other costs, all losses and all other Expenses (whether or not court proceedings will have been issued) incurred by us as a result of our taking steps under this paragraph 7 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 7.1.5 from the date upon which we become liable to pay the same until payment by you.

7.3 If you pay us only part of the sums due to us such payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than one Lot pro-rata towards the Purchase Price of each Lot) and secondly to the Buyer’s Premium (or where you have purchased more than one Lot pro-rata to the Buyer’s Premium on each Lot) and thirdly to any other sums due to us.

7.4 We will account to you in respect of any balance we hold remaining from any monies received by us in respect of any Sale of the Lot under our rights under this paragraph 7 after the payment of all sums due to us and/or the Seller within 28 days of receipt by us of all such sums paid to us.

8 CLAIMS BY OTHER PERSONS IN RESPECT OF THE LOT

8.1 Whenever it becomes apparent to us that the Lot is the subject of a claim by someone other than you and other than the Seller (or that such a claim can reasonably be expected to be made), we may, at our absolute discretion, deal with the Lot in any manner which appears to us to recognise the legitimate interests of ourselves and the other parties involved and lawfully to protect our position and our legitimate interests. Without prejudice to the generality of the discretion and by way of example, we may:

8.1.1 retain the Lot to investigate any question raised or reasonably expected by us to be raised in relation to the Lot; and/or

8.1.2 deliver the Lot to a person other than you; and/or

8.1.3 commence interpleader proceedings or seek any other order of any court, mediator, arbitrator or government body; and/or

8.1.4 require an indemnity and/or security from you in return for pursuing a course of action agreed to by you.

8.2 The discretion referred to in paragraph 8.1:

8.2.1 may be exercised at any time during which we have actual or constructive possession of the Lot, or at any time after such possession, where the cessation of such possession has occurred by reason of any decision, order or ruling of any court, mediator, arbitrator or government body; and

8.2.2 will not be exercised unless we believe that there exists a serious prospect of a good arguable case in favour of the claim.

9 FORGERIES

9.1 We undertake a personal responsibility for any Forgery in accordance with the terms of this paragraph 9.

9.2 Paragraph 9 applies only if:

9.2.1 your name appears as the named person to whom the original invoice was made out by us in respect of the Lot and that invoice has been paid; and

9.2.2 you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a Forgery, and in any event within one year after the Sale, that the Lot is a Forgery; and

9.2.3 within one month after such notification has been given, you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a Forgery and details of the Sale and Lot number sufficient to identify the Lot.

9.3 Paragraph 9 will not apply in respect of a Forgery if:

9.3.1 the Entry in relation to the Lot contained in the Catalogue reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion or reflected the then current opinion of an expert acknowledged to be a leading expert in the relevant field; or

9.3.2 it can be established that the Lot is a Forgery only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed.

9.4 You authorise us to carry out such processes and tests on the Lot as we in our absolute discretion consider necessary to satisfy ourselves that the Lot is or is not a Forgery.

9.5 If we are satisfied that a Lot is a Forgery we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims, in accordance with the provisions of Sections 12(1) and 12(2) of the Sale of Goods Act 1979 and we will pay to you an amount equal to the sum of the Purchase Price, Buyer’s Premium, VAT and Expenses paid by you in respect of the Lot.

9.6 The benefit of paragraph 9 is personal to, and incapable of assignment by, you.

9.7 If you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

9.8 Paragraph 9 does not apply to a Lot made up of or including a Chinese painting or Chinese paintings, a motor vehicle or motor vehicles, a Stamp or Stamps or a Book or Books.

10 OUR LIABILITY

10.1 We will not be liable whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967 or in any other way for lack of conformity with or any inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in respect of it, made by us or on our behalf or by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Bonhams’ Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale.

10.2 Our duty to you while the Lot is at your risk and/or your property and in our custody and/or control is to exercise reasonable care in relation to it, but we will not be responsible for damage to the Lot or to other persons or things caused by:

10.2.1 handling the Lot if it was affected at the time of Sale to you by woodworm and any damage is caused as a result of it being affected by woodworm; or

10.2.2 changes in atmospheric pressure; nor will we be liable for:

10.2.3 damage to tension stringed musical instruments; or

10.2.4 damage to gilded picture frames, plaster picture frames or picture frame glass; and if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we think fit and we will be under no liability to you for doing so.

NTB/MAIN/06.15

10.3.1 We will not be liable to you for any loss of Business, Business profits, revenue or income or for loss of Business reputation or for disruption to Business or wasted time on the part of the Buyer’s management or staff or, if you are buying the Lot in the course of a Business, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

10.3.2 Unless you buy the Lot as a Consumer, in any circumstances where we are liable to you in respect of a Lot, or any act, omission, statement, representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, our liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot plus Buyer’s Premium (less any sum you may be entitled to recover from the Seller) irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

You may wish to protect yourself against loss by obtaining insurance.

10.4 Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law, or (v) under our undertaking in paragraph 9 of these conditions.

11 BOOKS MISSING TEXT OR ILLUSTRATIONS

Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in either case referred to as a “non-conforming Lot”), we undertake a personal responsibility for such a non-conforming Lot in accordance with the terms of this paragraph, if:

the original invoice was made out by us to you in respect of the Lot and that invoice has been paid; and

you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a non-conforming Lot, and in any event within 20 days after the Sale (or such longer period as we may agree in writing) that the Lot is a non-conforming Lot; and

within 20 days of the date of the relevant Sale (or such longer period as we may agree in writing) you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a non-conforming Lot and details of the Sale and Lot number sufficient to identify the Lot.

but not if:

the Entry in the Catalogue in respect of the Lot indicates that the rights given by this paragraph do not apply to it; or

the Entry in the Catalogue in respect of the Lot reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion; or

it can be established that the Lot is a non-conforming Lot only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed; or

the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or periodical publications; or

the Lot was listed in the Catalogue under “collections” or “collections and various” or the Lot was stated in the Catalogue to comprise or contain a collection, issue or Books which are undescribed or the missing text or illustrations are referred to or the relevant parts of the Book contain blanks, half titles or advertisements.

If we are reasonably satisfied that a Lot is a non- conforming Lot, we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims and we will pay to you an amount equal to the sum of the Purchase Price and Buyer’s Premium paid by you in respect of the Lot.

The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

12 MISCELLANEOUS

12.1 You may not assign either the benefit or burden of this agreement.

12.2 Our failure or delay in enforcing or exercising any power or right under this agreement will not operate or be deemed to operate as a waiver of our rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect our ability subsequently to enforce any right arising under this agreement.

12.3 If either party to this agreement is prevented from performing that party’s respective obligations under this agreement by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3.

12.4 Any notice or other communication to be given under this agreement must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the address or fax number of the relevant party given in the Contract Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

12.5 If any term or any part of any term of this agreement is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

12.6 References in this agreement to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

12.7 The headings used in this agreement are for convenience only and will not affect its interpretation.

12.8 In this agreement “including” means “including, without limitation”.


12.10 Reference to a numbered paragraph is to a paragraph of this agreement.

12.11 Save as expressly provided in paragraph 12.12 nothing in this agreement confers (or purports to confer) on any person who is not a party to this agreement any benefit conferred by, or the right to enforce any term of, this agreement.

12.12 Where this agreement confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of Bonhams, it will also operate in favour and for the benefit of Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

13 GOVERNING LAW

All transactions to which this agreement applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes (or is to take) place and we and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that we may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.


Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR, United Kingdom or by email from [email protected].

APPENDIX 3

DEFINITIONS AND GLOSSARY

Where these Definitions and Glossary are incorporated, the following words and phrases used have (unless the context otherwise requires) the meanings given to them below. The Glossary is to assist you to understand words and phrases which have a specific legal meaning with which you may not be familiar.

LIST OF DEFINITIONS

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006 which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).“Auctioneer” the representative of Bonhams conducting the Sale.

NTB/MAIN/06.15

10.3.1 We will not be liable to you for any loss of Business, Business profits, revenue or income or for loss of Business reputation or for disruption to Business or wasted time on the part of the Buyer’s management or staff or, if you are buying the Lot in the course of a Business, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

10.3.2 Unless you buy the Lot as a Consumer, in any circumstances where we are liable to you in respect of a Lot, or any act, omission, statement, representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, our liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot plus Buyer’s Premium (less any sum you may be entitled to recover from the Seller) irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

You may wish to protect yourself against loss by obtaining insurance.

10.4 Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law, or (v) under our undertaking in paragraph 9 of these conditions.

11 BOOKS MISSING TEXT OR ILLUSTRATIONS

Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in either case referred to as a “non-conforming Lot”), we undertake a personal responsibility for such a non-conforming Lot in accordance with the terms of this paragraph, if:

the original invoice was made out by us to you in respect of the Lot and that invoice has been paid; and

you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a non-conforming Lot, and in any event within 20 days after the Sale (or such longer period as we may agree in writing) that the Lot is a non-conforming Lot; and

within 20 days of the date of the relevant Sale (or such longer period as we may agree in writing) you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a non-conforming Lot and details of the Sale and Lot number sufficient to identify the Lot.

but not if:

the Entry in the Catalogue in respect of the Lot indicates that the rights given by this paragraph do not apply to it; or

the Entry in the Catalogue in respect of the Lot reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion; or

it can be established that the Lot is a non-conforming Lot only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed; or

the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or periodical publications; or

the Lot was listed in the Catalogue under “collections” or “collections and various” or the Lot was stated in the Catalogue to comprise or contain a collection, issue or Books which are undescribed or the missing text or illustrations are referred to or the relevant parts of the Book contain blanks, half titles or advertisements.

If we are reasonably satisfied that a Lot is a non- conforming Lot, we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims and we will pay to you an amount equal to the sum of the Purchase Price and Buyer’s Premium paid by you in respect of the Lot.

The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

12 MISCELLANEOUS

12.1 You may not assign either the benefit or burden of this agreement.

12.2 Our failure or delay in enforcing or exercising any power or right under this agreement will not operate or be deemed to operate as a waiver of our rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect our ability subsequently to enforce any right arising under this agreement.

12.3 If either party to this agreement is prevented from performing that party’s respective obligations under this agreement by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3.

12.4 Any notice or other communication to be given under this agreement must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the address or fax number of the relevant party given in the Contract Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

12.5 If any term or any part of any term of this agreement is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

12.6 References in this agreement to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

12.7 The headings used in this agreement are for convenience only and will not affect its interpretation.

12.8 In this agreement “including” means “including, without limitation”.


12.10 Reference to a numbered paragraph is to a paragraph of this agreement.

12.11 Save as expressly provided in paragraph 12.12 nothing in this agreement confers (or purports to confer) on any person who is not a party to this agreement any benefit conferred by, or the right to enforce any term of, this agreement.

12.12 Where this agreement confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of Bonhams, it will also operate in favour and for the benefit of Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

13 GOVERNING LAW

All transactions to which this agreement applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes (or is to take) place and we and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that we may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.


Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR, United Kingdom or by email from [email protected].

APPENDIX 3

DEFINITIONS AND GLOSSARY

Where these Definitions and Glossary are incorporated, the following words and phrases used have (unless the context otherwise requires) the meanings given to them below. The Glossary is to assist you to understand words and phrases which have a specific legal meaning with which you may not be familiar.

LIST OF DEFINITIONS

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006 which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).“Auctioneer” the representative of Bonhams conducting the Sale.

NTB/MAIN/06.15

“Bidder” a person who has completed a Bidding Form. “Bidding Form” our Bidding Registration Form, our Absentee Bidding Form or our Telephone Bidding Form. “Bonhams” Bonhams 1793 Limited or its successors or assigns. Bonhams is also referred to in the Buyer’s Agreement, the Conditions of Business and the Notice to Bidders by the words “we”, “us” and “our”.“Book” a printed Book offered for Sale at a specialist Book Sale.“Business” includes any trade, Business and profession.“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to in the Contract for Sale and the Buyer’s Agreement by the words “you” and “your”.“Buyer’s Agreement” the contract entered into by Bonhams with the Buyer (see Appendix 2 in the Catalogue). “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in the Notice to Bidders. “Catalogue” the Catalogue relating to the relevant Sale, including any representation of the Catalogue published on our Website.“Commission” the Commission payable by the Seller to Bonhams calculated at the rates stated in the Contract Form.“Condition Report” a report on the physical condition of a Lot provided to a Bidder or potential Bidder by Bonhams on behalf of the Seller.“Conditions of Sale” the Notice to Bidders, Contract for Sale, Buyer’s Agreement and Definitions and Glossary. “Consignment Fee” a fee payable to Bonhams by the Seller calculated at rates set out in the Conditions of Business.“Consumer” a natural person who is acting for the relevant purpose outside his trade, Business or profession. “Contract Form” the Contract Form, or vehicle Entry form, as applicable, signed by or on behalf of the Seller listing the Lots to be offered for Sale by Bonhams. “Contract for Sale” the Sale contract entered into by the Seller with the Buyer (see Appendix 1 in the Catalogue). “Contractual Description” the only Description of the Lot (being that part of the Entry about the Lot in the Catalogue which is in bold letters, any photograph (except for the colour) and the contents of any Condition Report) to which the Seller undertakes in the Contract of Sale the Lot corresponds.“Description” any statement or representation in any way descriptive of the Lot, including any statement or representation relating to its authorship, attribution, condition, provenance, authenticity, style, period, age, suitability, quality, origin, value, estimated selling price (including the Hammer Price).“Entry” a written statement in the Catalogue identifying the Lot and its Lot number which may contain a Description and illustration(s) relating to the Lot.“Estimate” a statement of our opinion of the range within which the hammer is likely to fall.“Expenses” charges and Expenses paid or payable by Bonhams in respect of the Lot including legal Expenses, banking charges and Expenses incurred as a result of an electronic transfer of money, charges and Expenses for loss and damage cover, insurance, Catalogue and other reproductions and illustrations, any customs duties, advertising, packing or shipping costs, reproductions rights’ fees, taxes, levies, costs of testing, searches or enquiries, preparation of the Lot for Sale, storage charges, removal charges, removal charges or costs of collection from the Seller as the Seller’s agents or from a defaulting Buyer, plus VAT if applicable.“Forgery” an imitation intended by the maker or any other person to deceive as to authorship, attribution, origin, authenticity, style, date, age, period, provenance, culture, source or composition, which at the date of the Sale had a value materially less than it would have had if the Lot had not been such an imitation, and which is not stated to be such an imitation in any description of the Lot. A Lot will not be a Forgery by reason of any damage to, and/or restoration and/ or modification work (including repainting or over painting) having been carried out on the Lot, where that damage,restoration or modification work (as the case may be) does not substantially affect the identity of the Lot as one conforming to the Description of the Lot.“Guarantee” the obligation undertaken personally by Bonhams to the Buyer in respect of any Forgery and, in the case of specialist Stamp Sales and/or specialist Book Sales, a Lot made up of a Stamp or Stamps or a Book or Books as set out in the Buyer’s Agreement.“Hammer Price” the price in the currency in which the Sale is conducted at which a Lot is knocked down by the Auctioneer.

“Loss and Damage Warranty” means the warranty described in paragraph 8.2 of the Conditions of Business. “Loss and Damage Warranty Fee” means the fee described in paragraph 8.2.3 of the Conditions of Business.“Lot” any item consigned to Bonhams with a view to its Sale at auction or by private treaty (and reference to any Lot will include, unless the context otherwise requires, reference to individual items comprised in a group of two or more items offered for Sale as one Lot).“Motoring Catalogue Fee” a fee payable by the Seller to Bonhams in consideration of the additional work undertaken by Bonhams in respect of the cataloguing of motor vehicles and in respect of the promotion of Sales of motor vehicles.“New Bond Street” means Bonhams’ saleroom at 101 New Bond Street, London W1S 1SR.“Notional Charges” the amount of Commission and VAT which would have been payable if the Lot had been sold at the Notional Price.“Notional Fee” the sum on which the Consignment Fee payable to Bonhams by the Seller is based and which is calculated according to the formula set out in the Conditions of Business.“Notional Price” the latest in time of the average of the high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, the Reserve applicable to the Lot.“Notice to Bidders” the notice printed at the back or front of our Catalogues.“Purchase Price” the aggregate of the Hammer Price and VAT on the Hammer Price (where applicable), the Buyer’s Premium and VAT on the Buyer’s Premium and any Expenses.“Reserve” the minimum price at which a Lot may be sold (whether at auction or by private treaty).“Sale” the auction Sale at which a Lot is to be offered for Sale by Bonhams.“Sale Proceeds” the net amount due to the Seller from the Sale of a Lot, being the Hammer Price less the Commission, any VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising.“Seller” the person who offers the Lot for Sale named on the Contract Form. Where the person so named identifies on the form another person as acting as his agent, or where the person named on the Contract Form acts as an agent for a principal (whether such agency is disclosed to Bonhams or not), “Seller” includes both the agent and the principal who shall be jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”.“Specialist Examination” a visual examination of a Lot by a specialist on the Lot.“Stamp” means a postage Stamp offered for Sale at a Specialist Stamp Sale.“Standard Examination” a visual examination of a Lot by a non-specialist member of Bonhams’ staff. “Storage Contract” means the contract described in paragraph 8.3.3 of the Conditions of Business or paragraph 4.4 of the Buyer’s Agreement (as appropriate). “Storage Contractor” means the company identified as such in the Catalogue.“Terrorism” means any act or threatened act of terrorism, whether any person is acting alone or on behalf of or in connection with any organisation(s) and/or government(s), committed for political, religious or ideological or similar purposes including, but not limited to, the intention to influence any government and/or put the public or any section of the public into fear.“Trust Account” the bank account of Bonhams into which all sums received in respect of the Purchase Price of anyLot will be paid, such account to be a distinct and separate account to Bonhams’ normal business bank account. “VAT” value added tax at the prevailing rate at the date of the Sale in the United Kingdom.“Website” Bonhams Website at www.bonhams.com “Withdrawal Notice” the Seller’s written notice to Bonhams revoking Bonhams’ instructions to sell a Lot. “Without Reserve” where there is no minimum price at which a Lot may be sold (whether at auction or by private treaty).

GLOSSARY

The following expressions have specific legal meanings with which you may not be familiar. The following glossary is intended to give you an understanding of those expressions but is not intended to limit their legal meanings:

“artist’s resale right”: the right of the creator of a work of art to receive a payment on Sales of that work subsequent to the original Sale of that work by the creator of it as set out in the Artists Resale Right Regulations 2006. “bailee”: a person to whom goods are entrusted. “indemnity”: an obligation to put the person who has the benefit of the indemnity in the same position in which he would have been, had the circumstances giving rise to the indemnity not arisen and the expression “indemnify” is construed accordingly.“interpleader proceedings”: proceedings in the Courts to determine ownership or rights over a Lot.“knocked down”: when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.“lien”: a right for the person who has possession of the Lot to retain possession of it.“risk”: the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “title”: the legal and equitable right to the ownership of a Lot.“tort”: a legal wrong done to someone to whom the wrong doer has a duty of care.

SALE OF GOODS ACT 1979

The following is an extract from the Sale of Goods Act 1979:

“Section 12 Implied terms about title, etc

(1) In a contract of sale, other than one to which subsection (3) below applies, there is an implied term on the part of the seller that in the case of a sale he has a right to sell the goods, and in the case of an agreement to sell he will have such a right at the time when the property is to pass.

(2) In a contract of sale, other than one to which subsection (3) below applies, there is also an implied term that-

(a) the goods are free, and will remain free until the time when the property is to pass, from any charge or encumbrance not disclosed or known to the buyer before the contract is made, and

(b) the buyer will enjoy quiet possession of the goods except in so far as it may be disturbed by the owner or other person entitled to the benefit of any charge or encumbrance so disclosed or known.

(3) This subsection applies to a contract of sale in the case of which there appears from the contract or is to be inferred from its circumstances an intention that the seller should transfer only such title as he or a third person may have.

(4) In a contract to which subsection (3) above applies there is an implied term that all charges or encumbrances known to the seller and not known to the buyer have been disclosed to the buyer before the contract is made.

(5) In a contract to which subsection (3) above applies there is also an implied term that none of the following will disturb the buyer’s quiet possession of the goods, namely:

(a) the seller;

(b) in a case where the parties to the contract intend that the seller should transfer only such title as a third person may have, that person;

(c) anyone claiming through or under the seller or that third person otherwise than under a charge or encumbrance disclosed or known to the buyer before the contract is made.

(5A) As regards England and Wales and Northern Ireland, the term implied by subsection (1) above is a condition and the terms implied by subsections (2), (4) and (5) above are warranties.”

Bonhams Specialist Departments 19th Century PaintingsUKCharles O’ Brien+44 20 7468 8360U.S.AMadalina Lazen+1 212 644 9108

20th Century British ArtMatthew Bradbury+44 20 7468 8295

Aboriginal ArtFrancesca Cavazzini+61 2 8412 2222

African, Oceanic & Pre-Columbian Art UKPhilip Keith+44 2920 727 980U.S.AFredric Backlar+1 323 436 5416

American PaintingsAlan Fausel+1 212 644 9039

AntiquitiesMadeleine Perridge+44 20 7468 8226

Antique Arms & Armour UKDavid Williams+44 20 7393 3807U.S.APaul Carella+1 415 503 3360

Art Collections, Estates & ValuationsHarvey Cammell+44 (0) 20 7468 8340

Art Nouveau & Decorative Art & DesignUKMark Oliver+44 20 7393 3856U.S.AFrank Maraschiello+1 212 644 9059

Australian ArtMerryn Schriever+61 2 8412 2222Alex Clark+61 3 8640 4088

Australian Colonial Furniture and Australiana+1 415 861 7500

Books, Maps & Manuscripts UKMatthew Haley+44 20 7393 3817U.S.AChristina Geiger+1 212 644 9094

British & European GlassUKSimon Cottle+44 20 7468 8383U.S.A.Suzy Pai+1 415 503 3343

British & European Porcelain & Pottery UKJohn Sandon+44 20 7468 8244U.S.APeter Scott+1 415 503 3326

California & American PaintingsScot Levitt+1 323 436 5425

CarpetsUKMark Dance+44 8700 27361U.S.A.Hadji Rahimipour+1 415 503 3392

Chinese & Asian ArtUKAsaph Hyman+44 20 7468 5888U.S.ADessa Goddard+1 415 503 3333HONG KONG +852 3607 0010AUSTRALIAYvett Klein+61 2 8412 2222

ClocksUKJames Stratton+44 20 7468 8364U.S.AJonathan Snellenburg+1 212 461 6530

Coins & MedalsUKJohn Millensted+44 20 7393 3914U.S.APaul Song+1 323 436 5455

Contemporary Art UKRalph Taylor+44 20 7447 7403U.S.AJeremy Goldsmith+1 917 206 1656

Costume & TextilesClaire Browne+44 1564 732969

Entertainment MemorabiliaUK+44 20 7393 3844U.S.A Catherine Williamson+1 323 436 5442

Furniture & Works of ArtUKGuy Savill+44 20 7468 8221U.S.AAndrew Jones+1 415 503 3413

Greek ArtOlympia Pappa+44 20 7468 8314

Golf Sporting MemorabiliaKevin Mcgimpsey+44 1244 353123

Irish ArtPenny Day+44 20 7468 8366

Impressionist & Modern ArtUKIndia Phillips+44 20 7468 8328U.S.ATanya Wells+1 917 206 1685

Islamic & Indian ArtClaire Penhallurick+44 20 7468 8249

Japanese ArtUKSuzannah Yip+44 20 7468 8368U.S.AJeff Olson+1 212 461 6516

JewelleryUKJean Ghika+44 20 7468 8282U.S.ASusan Abeles+1 212 461 6525AUSTRALIAAnellie Manolas+61 2 8412 2222HONG KONGGraeme Thompson+852 3607 0006

Marine ArtUKVeronique Scorer+44 20 7393 3962U.S.AGregg Dietrich+1 917 206 1697

Mechanical MusicJon Baddeley+44 20 7393 3872

Modern, Contemporary & Latin American ArtU.S.AAlexis Chompaisal+1 323 436 5469

Modern DesignGareth Williams+44 20 7468 5879

Motor CarsUKTim Schofield+44 20 7468 5804U.S.AMark Osborne+1 415 503 3353EUROPEPhilip Kantor+32 476 879 471

AutomobiliaUKToby Wilson+44 8700 273 619Adrian Pipiros+44 8700 273621

MotorcyclesBen Walker+44 8700 273616

Native American ArtJim Haas+1 415 503 3294

Natural HistoryU.S.AClaudia Florian+1 323 436 5437

Old Master PicturesUKAndrew Mckenzie+44 20 7468 8261U.S.AMark Fisher+1 323 436 5488

Orientalist ArtCharles O’Brien+44 20 7468 8360

PhotographyU.S.AJudith Eurich+1 415 503 3259

Portrait MiniaturesUK+44 20 7393 3986

Prints and MultiplesUKRupert Worrall+44 20 7468 8262U.S.AJudith Eurich+1 415 503 3259

Russian ArtUKDaria Chernenko +44 20 7468 8334U.S.AYelena Harbick+1 212 644 9136

Scientific InstrumentsJon Baddeley+44 20 7393 3872U.S.A.Jonathan Snellenburg+1 212 461 6530

Scottish PicturesChris Brickley+44 131 240 2297

Silver & Gold BoxesUKMichael Moorcroft+44 20 7468 8241U.S.AAileen Ward+1 800 223 5463

South African ArtGiles Peppiatt+44 20 7468 8355

Sporting GunsPatrick Hawes+44 20 7393 3815

Travel PicturesVeronique Scorer+44 20 7393 3962

Urban ArtGareth Williams+44 20 7468 5879

Watches & WristwatchesUK+44 20 7447 7412U.S.A.Jonathan Snellenburg+1 212 461 6530HONG KONGNicholas Biebuyck+852 2918 4321

WhiskyUKMartin Green+44 1292 520000U.S.AJoseph Hyman+1 917 206 1661HONG KONGDaniel Lam+852 3607 0004

WineUKRichard Harvey+44 (0) 20 7468 5811U.S.ADoug Davidson+1 415 503 3363HONG KONGDaniel Lam+852 3607 0004

To e-mail any of the below use the first name dot second name @bonhams.com eg. [email protected]

SD30/7/15

Bonhams Specialist Departments 19th Century PaintingsUKCharles O’ Brien+44 20 7468 8360U.S.AMadalina Lazen+1 212 644 9108

20th Century British ArtMatthew Bradbury+44 20 7468 8295

Aboriginal ArtFrancesca Cavazzini+61 2 8412 2222

African, Oceanic & Pre-Columbian Art UKPhilip Keith+44 2920 727 980U.S.AFredric Backlar+1 323 436 5416

American PaintingsAlan Fausel+1 212 644 9039

AntiquitiesMadeleine Perridge+44 20 7468 8226

Antique Arms & Armour UKDavid Williams+44 20 7393 3807U.S.APaul Carella+1 415 503 3360

Art Collections, Estates & ValuationsHarvey Cammell+44 (0) 20 7468 8340

Art Nouveau & Decorative Art & DesignUKMark Oliver+44 20 7393 3856U.S.AFrank Maraschiello+1 212 644 9059

Australian ArtMerryn Schriever+61 2 8412 2222Alex Clark+61 3 8640 4088

Australian Colonial Furniture and Australiana+1 415 861 7500

Books, Maps & Manuscripts UKMatthew Haley+44 20 7393 3817U.S.AChristina Geiger+1 212 644 9094

British & European GlassUKSimon Cottle+44 20 7468 8383U.S.A.Suzy Pai+1 415 503 3343

British & European Porcelain & Pottery UKJohn Sandon+44 20 7468 8244U.S.APeter Scott+1 415 503 3326

California & American PaintingsScot Levitt+1 323 436 5425

CarpetsUKMark Dance+44 8700 27361U.S.A.Hadji Rahimipour+1 415 503 3392

Chinese & Asian ArtUKAsaph Hyman+44 20 7468 5888U.S.ADessa Goddard+1 415 503 3333HONG KONG +852 3607 0010AUSTRALIAYvett Klein+61 2 8412 2222

ClocksUKJames Stratton+44 20 7468 8364U.S.AJonathan Snellenburg+1 212 461 6530

Coins & MedalsUKJohn Millensted+44 20 7393 3914U.S.APaul Song+1 323 436 5455

Contemporary Art UKRalph Taylor+44 20 7447 7403U.S.AJeremy Goldsmith+1 917 206 1656

Costume & TextilesClaire Browne+44 1564 732969

Entertainment MemorabiliaUK+44 20 7393 3844U.S.A Catherine Williamson+1 323 436 5442

Furniture & Works of ArtUKGuy Savill+44 20 7468 8221U.S.AAndrew Jones+1 415 503 3413

Greek ArtOlympia Pappa+44 20 7468 8314

Golf Sporting MemorabiliaKevin Mcgimpsey+44 1244 353123

Irish ArtPenny Day+44 20 7468 8366

Impressionist & Modern ArtUKIndia Phillips+44 20 7468 8328U.S.ATanya Wells+1 917 206 1685

Islamic & Indian ArtClaire Penhallurick+44 20 7468 8249

Japanese ArtUKSuzannah Yip+44 20 7468 8368U.S.AJeff Olson+1 212 461 6516

JewelleryUKJean Ghika+44 20 7468 8282U.S.ASusan Abeles+1 212 461 6525AUSTRALIAAnellie Manolas+61 2 8412 2222HONG KONGGraeme Thompson+852 3607 0006

Marine ArtUKVeronique Scorer+44 20 7393 3962U.S.AGregg Dietrich+1 917 206 1697

Mechanical MusicJon Baddeley+44 20 7393 3872

Modern, Contemporary & Latin American ArtU.S.AAlexis Chompaisal+1 323 436 5469

Modern DesignGareth Williams+44 20 7468 5879

Motor CarsUKTim Schofield+44 20 7468 5804U.S.AMark Osborne+1 415 503 3353EUROPEPhilip Kantor+32 476 879 471

AutomobiliaUKToby Wilson+44 8700 273 619Adrian Pipiros+44 8700 273621

MotorcyclesBen Walker+44 8700 273616

Native American ArtJim Haas+1 415 503 3294

Natural HistoryU.S.AClaudia Florian+1 323 436 5437

Old Master PicturesUKAndrew Mckenzie+44 20 7468 8261U.S.AMark Fisher+1 323 436 5488

Orientalist ArtCharles O’Brien+44 20 7468 8360

PhotographyU.S.AJudith Eurich+1 415 503 3259

Portrait MiniaturesUK+44 20 7393 3986

Prints and MultiplesUKRupert Worrall+44 20 7468 8262U.S.AJudith Eurich+1 415 503 3259

Russian ArtUKDaria Chernenko +44 20 7468 8334U.S.AYelena Harbick+1 212 644 9136

Scientific InstrumentsJon Baddeley+44 20 7393 3872U.S.A.Jonathan Snellenburg+1 212 461 6530

Scottish PicturesChris Brickley+44 131 240 2297

Silver & Gold BoxesUKMichael Moorcroft+44 20 7468 8241U.S.AAileen Ward+1 800 223 5463

South African ArtGiles Peppiatt+44 20 7468 8355

Sporting GunsPatrick Hawes+44 20 7393 3815

Travel PicturesVeronique Scorer+44 20 7393 3962

Urban ArtGareth Williams+44 20 7468 5879

Watches & WristwatchesUK+44 20 7447 7412U.S.A.Jonathan Snellenburg+1 212 461 6530HONG KONGNicholas Biebuyck+852 2918 4321

WhiskyUKMartin Green+44 1292 520000U.S.AJoseph Hyman+1 917 206 1661HONG KONGDaniel Lam+852 3607 0004

WineUKRichard Harvey+44 (0) 20 7468 5811U.S.ADoug Davidson+1 415 503 3363HONG KONGDaniel Lam+852 3607 0004

To e-mail any of the below use the first name dot second name @bonhams.com eg. [email protected]

SD30/7/15

UNITED KINGDOM

London101 New Bond Street •London W1S 1SR+44 20 7447 7447+44 20 7447 7400 fax

Montpelier Street •London SW7 1HH+44 20 7393 3900+44 20 7393 3905 fax

South East England

Brighton & Hove19 Palmeira SquareHove, East SussexBN3 2JN+44 1273 220 000+44 1273 220 335 fax

Guildford Millmead,Guildford,Surrey GU2 4BE+44 1483 504 030+44 1483 450 205 fax

Isle of Wight+44 1273 220 000

Representative:KentGeorge Dawes+44 1483 504 030

West Sussex+44 (0) 1273 220 000

South WestEngland

Bath Queen Square HouseCharlotte StreetBath BA1 2LL+44 1225 788 988+44 1225 446 675 fax

Cornwall – Truro 36 Lemon StreetTruroCornwallTR1 2NR+44 1872 250 170+44 1872 250 179 fax

ExeterThe LodgeSouthernhay West Exeter, DevonEX1 1JG+44 1392 425 264 +44 1392 494 561 fax

WinchesterThe Red HouseHyde StreetWinchesterHants SO23 7DX+44 1962 862 515+44 1962 865 166 fax

Tetbury22a Long StreetTetburyGloucestershireGL8 8AQ+44 1666 502 200+44 1666 505 107 fax

Representatives:DorsetBill Allan+44 1935 815 271

East Anglia

Bury St. Edmunds21 Churchgate StreetBury St EdmundsSuffolk IP33 1RG+44 1284 716 190+44 1284 755 844 fax

NorfolkThe Market PlaceReephamNorfolk NR10 4JJ+44 1603 871 443+44 1603 872 973 fax

Midlands

Knowle The Old HouseStation RoadKnowle, SolihullWest MidlandsB93 0HT+44 1564 776 151+44 1564 778 069 fax

Oxford •Banbury RoadShipton on CherwellKidlington OX5 1JH+44 1865 853 640+44 1865 372 722 fax

Yorkshire & North East England

Leeds 30 Park Square West Leeds LS1 2PF+44 113 234 5755+44 113 244 3910 fax

North West England

Chester 2 St Johns Court,Vicars Lane,Chester,Ch1 1QE+44 1244 313 936+44 1244 340 028 fax

ManchesterThe Stables213 Ashley RoadHale WA15 9TB+44 161 927 3822+44 161 927 3824 fax

Channel Islands

JerseyLa ChasseLa Rue de la ValleeSt MaryJersey JE3 3DL+44 1534 722 441+44 1534 759 354 fax

Representative:Guernsey+44 1481 722 448

Scotland

Edinburgh •22 Queen StreetEdinburghEH2 1JX+44 131 225 2266+44 131 220 2547 fax

Glasgow176 St. Vincent Street,GlasgowG2 5SG+44 141 223 8866+44 141 223 8868 fax

Representatives:Wine & SpiritsTom Gilbey+44 1382 330 256

Wales

Cardiff7-8 Park Place,Cardiff CF10 3DP+44 2920 727 980+44 2920 727 989 fax

EUROPE

AustriaTuchlauben 81010 Vienna+43 (0) 1 403 [email protected]

BelgiumBoulevardSaint-Michel 1011040 Brussels+32 (0) 2 736 [email protected] DenmarkHenning Thomsen+45 4178 [email protected] France4 rue de la Paix75002 Paris+33 (0) 1 42 61 10 [email protected] Germany - CologneAlbertusstrasse 2650667 Cologne+49 (0) 221 2779 [email protected] Germany - MunichMaximilianstrasse 5280538 Munich+49 (0) 89 2420 [email protected] Greece7 Neofytou Vamva StreetAthens 10674+30 (0) 210 3636 [email protected] Ireland31 Molesworth StreetDublin 2+353 (0) 1 602 [email protected] Italy - MilanVia Boccaccio 2220123 Milano+39 0 2 4953 [email protected] Italy - RomeVia Sicilia 5000187 Roma+39 0 6 48 [email protected]

The NetherlandsDe Lairessestraat 1541075 HL Amsterdam+31 (0) 20 67 09 [email protected] PortugalRua Bartolomeu Dias nº 160. 1ºBelem1400-031 Lisbon+351 218 293 [email protected]

Russia – MoscowAnastasia Vinokurova+7 964 562 [email protected] Russia - St. PetersburgMarina Jacobson+7 921 555 [email protected] Spain - BarcelonaTeresa Ybarra+34 930 087 [email protected] Spain - MadridNunez de Balboa no 4-1A28001 Madrid+34 915 78 17 [email protected] Spain - MarbellaJames Roberts+34 952 90 62 [email protected] SwitzerlandRue Etienne-Dumont 101204 Geneva+41 (0) 22 300 [email protected]

MIDDLE EASTDubaiDeborah Najar+971 (0)56 113 [email protected]

IsraelJoslynne Halibard+972 (0)54 553 [email protected]

NORTH AMERICAUSA

San Francisco •220 San Bruno AvenueSan FranciscoCA 94103+1 (415) 861 7500+1 (415) 861 8951 fax

Los Angeles •7601 W. Sunset BoulevardLos AngelesCA 90046+1 (323) 850 7500+1 (323) 850 6090 fax

New York •580 Madison AvenueNew York, NY10022+1 (212) 644 9001+1 (212) 644 9007 fax

Representatives: Arizona Terri Adrian-Hardy+1 (480) 994 5362

CaliforniaCentral ValleyDavid Daniel+1 (916) 364 1645

Southern CaliforniaChristine Eisenberg+1 (949) 646 6560

ColoradoJulie Segraves+1 (720) 355 3737

FloridaPalm Beach +1 (561) 651 7876Miami +1 (305) 228 6600Ft. Lauderdale +1 (954) 566 1630

GeorgiaMary Moore Bethea+1 (404) 842 1500

IllinoisRicki Blumberg Harris+1 (312) 475 3922+1 (773) 267 3300

MassachusettsBoston/New EnglandAmy Corcoran+1 (617) 742 0909

NevadaDavid Daniel+1 (775) 831 0330

OregonSheryl Acheson+1(503) 312 6023

PennsylvaniaMargaret Tierney+1 (610) 644 1199

TexasAmy Lawch+1 (713) 621 5988

Washington Heather O’Mahony+1 (206) 218 5011

Washington DCMid-Atlantic RegionMartin Gammon+1 (202) 333 1696

CANADA

Toronto, Ontario • Jack Kerr-Wilson20 Hazelton AvenueToronto, ONTM5R 2E2+1 (416) 462 [email protected]

Montreal, QuebecDavid Kelsey+1 (514) 341 [email protected]

SOUTH AMERICAArgentinaDaniel Claramunt+54 11 479 37600

Brazil+55 11 3031 4444+55 11 3031 4444 fax

ASIAHong Kong • Suite 2001One Pacific Place88 QueenswayAdmiraltyHong Kong+852 2918 4321+852 2918 4320 [email protected]

BeijingHongyu YuSuite 511Chang An Club10 East Chang An AvenueBeijing 100006+86(0) 10 6528 0922+86(0) 10 6528 0933 [email protected]

JapanAkiko TsuchidaLevel 14 Hibiya Central Building1-2-9 Nishi-ShimbashiMinato-kuTokyo 105-0003+81 (0) 3 5532 8636+81 (0) 3 5532 8637 [email protected]

SingaporeBernadette Rankine11th Floor, Wisma Atria435 Orchard RoadSingapore 238877+65 (0) 6701 8038+65 (0) 6701 8001 [email protected]

TaiwanSummer Fang37th Floor, Taipei 101 TowerNor 7 Xinyi Road, Section 5Taipei, 100+886 2 8758 2898+886 2 8757 2897 [email protected]

AUSTRALIASydney97-99 Queen Street, Woollahra, NSW 2025Australia+61 (0) 2 8412 2222+61 (0) 2 9475 4110 [email protected]

MelbourneComo HouseComo AvenueSouth Yarra Melbourne VIC 3141Australia+61 (0) 3 8640 4088+61 (0) 2 9475 4110 [email protected]

AFRICANigeriaNeil Coventry+234 (0)7065 888 [email protected]

South Africa - JohannesburgPenny Culverwell+27 (0)71 342 [email protected]

International Salerooms, Offices and Associated Companies (• Indicates Saleroom)

G-NET8/9/15

146 | BONHAMS

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Preferred number(s) in order for Telephone Bidding (inc. country code)

E-mail (in capitals)

I am registering to bid as a private buyer I am registering to bid as a trade buyer

If registered for VAT in the EU please enter your registration here:

/ - -

This sale will be conducted in accordance with Bonhams’ Conditions of Sale and bidding and buying at the Sale will be regulated by these Conditions. You should read the Conditions in conjunction with the Sale Information relating to this Sale which sets out the charges payable by you on the purchases you make and other terms relating to bidding and buying at the Sale. You should ask any questions you have about the Conditions before signing this form. These Conditions also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to bidders and buyers.

Data protection – use of your informationWhere we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected].

Credit and Debit Card Payments There is no surcharge for payments made by debit cards issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price.

Notice to Bidders.Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference.

If successful

I will collect the purchases myself

Please contact me with a shipping quote (if applicable)

Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

Please indicate Telephone or Absentee (T / A)

NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form.Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids.

General Bid Increments:£10 - 200 .....................by 10s£200 - 500 ...................by 20 / 50 / 80s£500 - 1,000 ................by 50s£1,000 - 2,000 .............by 100s£2,000 - 5,000 .............by 200 / 500 / 800s£5,000 - 10,000 ...........by 500s

£10,000 - 20,000 .........by 1,000s£20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s£50,000 - 100,000 .......by 5,000s£100,000 - 200,000 .....by 10,000sabove £200,000 ...........at the auctioneer’s discretion

Telephone or Absentee (T / A) Lot no. Brief description

MAX bid in GBP (excluding premium & VAT)

Covering bid*

The auctioneer has discretion to split any bid at any time.

Please note that all telephone calls are recorded.

FOR WINE SALES ONLY

Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding.

UK/06/14

Please tick if you have registered with us before

By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news concerning Bonhams. Bonhams does not sell or trade email addresses.

ISLAMIC AND INDIAN ART 6 October 2015

22816 New Bond Street, London

bonhams.com/chineseart

ENQUIRIES+44 (0) 20 7468 [email protected]

FINE CHINESE ARTThursday 12 November 2015New Bond Street, London

A RARE SET OF FOUR CLOISONNÉ ENAMEL ‘FLOWER’ PANELS Qianlong/JiaqingEach 100.2cm (39 3/8in) x 27.8cm (11in)£100,000-150,000

Provenance: Lady Anne M.S. Durston Collection, and thence by descent.

bonhams.com/chineseart


FINE CHINESE ARTThursday 12 November 2015New Bond Street, London

A RARE SET OF FOUR CLOISONNÉ ENAMEL ‘FLOWER’ PANELS Qianlong/JiaqingEach 100.2cm (39 3/8in) x 27.8cm (11in)£100,000-150,000

Provenance: Lady Anne M.S. Durston Collection, and thence by descent.


bonhams.com/travel

TRAVEL AND EXPLORATIONTuesday 3 November 2015 Knightsbridge

MICHEL JEAN CAZABON (1813-1888)Landscape with figures and horse, Trinidad watercolour (detail)£7,000 - 9,000


bonhams.com/ind

MODERN AND CONTEMPORARYSOUTH ASIAN ARTMonday 5 October 2015New Bond Street, London

TYEB MEHTA(INDIA, 1925-2009)Untitled (Figure), 1959£300,000 - 500,000


bonhams.com/antiquities

ANTIQUITIESWednesday 30 September 2015New Bond Street, London

A LARGE CELTIC LA TÈNE BRONZE BEAKED FLAGON CIRCA LATE 5TH CENTURY B.C.Estimate £70,000-90,000

International Auctioneers and Valuers – bonhams.com

Bonhams101 New Bond Street London W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax

Documents

Tuesday 6 October 2015 - Bonhams · Text (recto only): sura LXXI, Nuh, Noah, part of verse 23 to the last verse (28), and sura LXXII, al-Jinn, The Spirits, verses 1 to 4. The script