ISLAMIC AND Tuesday 6 October 2015

ISLAMIC AND INDIAN ART Tuesday 6 October 2015 at 2pm 101 New Bond Street, London

VIEWING Live online bidding is available CUSTOMER SERVICES ILLUSTRATIONS Sunday 27 September for this sale Monday to Friday 08.30 to 18.00 Front cover: lot 102 (detail) 11.00-15.00 Please email [email protected] +44 (0) 20 7447 7447 Back cover: lot 123 Monday 28 September with ‘live bidding’ in the subject Inside front cover: lot 48 (detail) 09.00-16.30 line 48 hours before the auction As a courtesy to intending Inside back cover: lot 119 (detail) Tuesday 29 September to register for this service bidders, Bonhams will provide a 9.00-16.30 written Indication of the physical Wednesday 30 September Please note: condition of lots in this sale if a IMPORTANT INFORMATION 09.00-16.30 Telephone bidding is available only request is received up to 24 In February 2014 the United Thursday 1 October on lots where the lower end hours before the auction starts. States Government 09.00-16.30 estimate is at £1000 or above. This written Indication is issued announced the intention to Friday 2 October subject to Clause 3 of the Notice ban the import of any ivory 09.00-16.30 ENQUIRIES to Bidders. into the USA. Lots Saturday 3 October Oliver White containing ivory are 11.00-15.00 (Head of Department) indicated by the symbol Ф Sunday 4 October +44 207 468 8303 printed beside the Lot 11.00-15.00 [email protected] number in this catalogue. Monday 5 October 09.00-16.30 Matthew Thomas +44 207 468 8270 [email protected] SALE NUMBER

22816 Rukmani Kumari Rathore +44 207 468 8203 CATALOGUE [email protected] £30.00 Alice Bailey (Consultant)

BIDS [email protected] +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax To bid via the internet please visit bonhams.com

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Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Lucinda Bredin, Harvey Cammell, Simon Cottle, Peter Rees, Iain Rushbrook, John Sandon, Matthew Girling CEO, Andrew Currie, Paul Davidson, Jean Ghika, Tim Schofield, Veronique Scorer, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Charles Graham-Campbell, Miranda Leslie, James Stratton, Roger Tappin, Ralph Taylor, +44 (0) 20 7393 3905 fax Geoffrey Davies, Jonathan Horwich, Richard Harvey, Robin Hereford, Asaph Hyman, Shahin Virani, David Williams, James Knight, Caroline Oliphant, Charles Lanning, Gordon McFarlan, Michael Wynell-Mayow, Suzannah Yip. Hugh Watchorn. Central Middlesex Hospital SALE Park Royal INFORMATION

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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. 1 A QUR’AN LEAF WRITTEN IN LARGE BOLD KUFIC SCRIPT ON VELLUM ABBASID, MID-9TH CENTURY Arabic 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 : 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, : see F. Karatay, Topkapi Sarayi Muzesi Kutuphanesi. Arapca yazmalar katalogu, I, Istanbul, 1962.

4 | BONHAMS 2 A QUR’AN LEAF WRITTEN IN KUFIC SCRIPT ON VELLUM ABBASID, 9TH-10TH CENTURY Arabic 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

4

3 • 4 • AN ILLUMINATED QUR’AN SECTION AN ILLUMINATED QUR’AN PERSIA, LATE 16TH CENTURY OTTOMAN TURKEY, SECOND HALF OF THE 16TH CENTURY Arabic manuscript on paper, 24 leaves, 13 lines to the page, first Arabic manuscript on cream-coloured paper, 301 leaves, last three and thirteenth lines written in blue in larger naskhi script, seventh line folios (including one blank) later replacements, 15 lines to the page written in gold in naskhi script, remainder of text in smaller naskhi written in naskhi script in black ink with diacritics and vowel points in script in black ink with diacritics and vowel points in black and red, red and black, gold dots between verses, inner margins ruled in blue inner margins ruled in colours and gold, illuminated circular devices and gold, trimmed with loss of most of the catchwords, sura headings in wide margins, catchwords, waterstaining mostly confined to outer written in thuluth script in gold, one illuminated frontispiece in two margins but occasionally affecting text, contemporary brown leather shades of gold, blue and some other colours, waterstaining affecting with stamped central cartouche with Chinese-style decoration, small areas of illumination, some staining and crude repairs, brown marbled endpapers, front cover detached morocco gilt with stamped central medallions decorated with floral 237 x 165 mm. and vegetal motifs on a gold ground, doublures of red morocco gilt, later flap, rebacked £4,000 - 6,000 132 x 92 mm. €5,500 - 8,200 US$6,200 - 9,300 £4,000 - 6,000 €5,500 - 8,200 US$6,200 - 9,300

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6

5 • 6 A QUR’AN SECTION, INCLUDING TWO ILLUMINATED A COURT BEAUTY HEADINGS OF SURA XLII, AL-SHURA, CONSULTATION (ALSO OTTOMAN TURKEY, IN THE STYLE OF LEVNI, CIRCA 1710-20 gouache and gold on paper KNOWN AS ‘AIN SIN QAF), AND SURA XLIV, AL-DUKKAN, 135 x 75 mm. SMOKE OR MIST PROBABLY OTTOMAN TURKEY, 15TH CENTURY Arabic manuscript on paper, 19 leaves, not continuous text, £3,000 - 4,000 misbound, 8 lines to the page, first and eight lines written in large €4,100 - 5,500 thuluth with remainder of text written in small naskhi script in black ink US$4,600 - 6,200 with diacritics and vowel points in black, text interspersed with gold rosettes, interlinear and intercolumnar rules in gold, sura headings The painting is in the style of the Ottoman court artist Abdulcelil written in elegant thuluth in gold within illuminated rectangular panels Chelebi, known as Levni, who enjoyed the patronage of Sultan Ahmed decorated with intertwining vegetal motifs, trimmed with loss of outer III (reg. 1703-30). He began his career as an illuminator but is best margins, remargined, waterstaining, crude repairs, some verses and known for his portraits, particularly a series of single figures which words retraced, later colophon, on different paper, fancifully attributing appeared in albums. See N. Atasoy, F. Cagman, Turkish Miniature the manuscript to Yaqut al-Musta’simi, modern brown morocco, some Painting, Istanbul 1974, p. 76; and for a number of portraits in an staining album in the Topkapi Palace Museum, see I. Stchoukine, La Peinture 352 x 265 mm. Turque d’apres les manuscrits illustres, II partie de Murad IV a Mustafa III 1623-1773, Paris 1971, pls. LXXIX-LXXXII. £3,000 - 5,000 €4,100 - 6,800 US$4,600 - 7,700

ISLAMIC AND INDIAN ART | 7 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 1542-43 Persian 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.

8 | BONHAMS ISLAMIC AND INDIAN ART | 9 8 9

8 9 A LARGE ILLUSTRATED LEAF FROM A DISPERSED AN ILLUSTRATED LEAF FROM A DISPERSED MANUSCRIPT OF MANUSCRIPT OF FIRDAUSI’S SHAHNAMA, DEPICTING THE FIRDAUSI’S SHAHNAMA DEPICTING AFRASIYAB ABOUT TO ARMIES OF SHIDA, SON OF PIRAN AND OF KAY KHUSRAU, CUT OFF THE HEAD OF NAWDHAR MEETING IN THE KHWARAZM DESERT PERSIA, 16TH CENTURY PERSIA, PROBABLY SHIRAZ, CIRCA 1550 gouache and gold on paper, text written in four columns of nasta’liq Persian manuscript on paper, 5 lines to the page written nasta’liq script in black ink, inner margins ruled in colours and gold, in mount script in four columns in black ink, intercolumnar rules in colours and 322 x 189 mm. 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 £3,000 - 4,000 miniature 270 x 220 mm.; leaf 440 x 275 mm. €4,100 - 5,500 US$4,600 - 6,200 £6,000 - 8,000 €8,200 - 11,000 US$9,300 - 12,000

Provenance Private UK collection.

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

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10 11 AN ILLUSTRATED* LEAF FROM A MANUSCRIPT OF FIRDAUSI’S AN ILLUSTRATED LEAF FROM A DISPERSED MANUSCRIPT OF SHAHNAMA, DEPICTING HOJIR BEFORE SOHRAB AT AN FIRDAUSI’S SHAHNAMA, DEPICTING FARUD IN BATTLE WITH ENCAMPMENT SURROUNDED BY THEIR TROOPS THE IRANIANS, ATTRIBUTED TO MU’IN MUSAVVIR OR HIS PERSIA, 17TH CENTURY WORKSHOP Persian manuscript on paper, 21 lines to the page written in nasta’liq SAFAVID PERSIA, ISFAHAN, CIRCA 1650 script in black ink, heading in red in nasta’liq script, inner margins ruled Persian manuscript on thin paper, 23 lines to the page written in in gold, red and blue, trimmed, some losses, illustration significantly small elegant nasta’liq script in black ink and diagonally in the inner retouched, leaf 335 x 220 mm.; and an illustrated leaf from a margin, interlinear and intercolumnar rules in gold, inner margins manuscript of Nizami’s Khamsa, from the Haft Paykar, depicting ruled in colours and gold, heading written in nasta’liq script in red, Bahram in the white pavilion, Persia, Isfahan, second half of the small repairs, attached to board, in mount, leaf 277 x 165 mm.; text 17th Century, Persian manuscript on paper, 19 lines to the page area 193 x 79 mm.; and an illustration excised from a dispersed written in nasta’liq script in black ink in four columns, headings in manuscript, depicting cavalry in action, in the style of Mu’in nasta’liq script in gold in an illuminated panel, inner margins ruled Musavvir, Isfahan, circa 1650 and later, gouache and gold on paper in colours and gold, leaf trimmed of its outer margins, illustration 139 x 140 mm.(2) retouched, leaf 275 x 185 mm.; and an illustrated leaf from a manuscript of Firdausi’s Shahnama: Nushirvan orders Mazdak £2,000 - 3,000 and his followers to be executed, Persia, 17th Century, Persian €2,700 - 4,100 manuscript on paper, 19 lines to the page written in nasta’liq script in US$3,100 - 4,600 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

ISLAMIC AND INDIAN ART | 11 12 13

12 • 13 AMIR KHUSRAU DEHLAVI, KHAMSA, FIVE POEMS AN ILLUMINATED FOLIO FROM A MANUSCRIPT OF THE JAM-E SAFAVID PERSIA, LATE 17TH/EARLY 18TH CENTURY JAM OF AWHAD AL-DIN MARAGHI’I (D. 1338) Persian manuscript on paper, 208 leaves, 21 lines to the page written SAFAVID PERSIA, 16TH CENTURY in four columns of nasta’liq script in black ink, double intercolumnar Persian manuscript on cream-coloured and gold-sprinkled paper, 12 rules in gold, inner margins ruled in blue, red and gold, headings lines to the page written in two columns in small and elegant nasta’liq written in small nasta’liq script in red, catchwords, interspersed panels script in black ink, double intercolumnar rules in gold, inner margins left blank, intended for miniatures, five illuminated headpieces in ruled in blue, green, dark red and gold, outer borders of orange and colours and gold, first two folios detached and crudely remargined, green paper richly decorated with fantastic birds amidst stylised waterstaining mostly restricted to outer margins, some crude repairs, serrated leaves and flowerheads outlined in gold, the folio with the rather browned, later Qajar floral lacquer binding, covers decorated number 41 in Persian numerals written in upper right corner of text with branches of apple blossom, wild red roses and primroses on a area, in mount gold-sprinkled red ground, crackled, rebacked, corners damaged, folio 245 x 135 mm.; text area 129 x 64 mm. doublures decorated with narcissi on a black ground 247 x 157 mm. £2,000 - 3,000 €2,700 - 4,100 £3,000 - 4,000 US$3,100 - 4,600 €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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14 AN ALBUM PAGE WITH CALLIGRAPHY IN NASTA’LIQ SCRIPT PERSIA, CIRCA 1600 Persian 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.

15 AN 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 CENTURY Persian 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 15 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

ISLAMIC AND INDIAN ART | 13 16 17

16 • 17 • AN ILLUMINATED QUR’AN COPIED BY IBRAHIM DHA’IFI, A AN ILLUMINATED QUR’AN COPIED BY MULLA MUHAMMAD PUPIL OF KATANI-ZADEH INDIA, 18TH CENTURY OTTOMAN TURKEY, LATE 18TH/19TH CENTURY Arabic manuscript on paper, 436 leaves, 10 lines to the page written in Arabic manuscript on cream-coloured paper, 62 leaves, 39 lines clear naskhi script in black ink with diacritics and vowel points in black to the page written in small and elegant naskhi script in black ink, interlinear Persian translation written in a cursive script in red, gold ink with diacritics and vowel points in red and black, gold discs discs decorated with blue dots between verses, inner margins ruled in between verses, inner margins ruled in red, black and gold, blue and gold, catchwords, extensive commentaries written diagonally catchwords, illuminated devices in wide outer borders, sura headings in nasta’liq script in red or black within gilt cloudbands, sura headings written in white (now oxidised) on gold ground within rectangular written in thuluth in red ink, one illuminated frontispiece, preceded by panels, illuminated frontispiece in colours and gold, edges frayed two illuminated medallions, in colours and gold, water damage has and repaired, some waterstaining restricted to outer margins, caused the removal of the blue pigment, heavily waterstained, some contemporary brown morocco, covers decorated with elaborate crude repairs, some dampstaining mostly restricted to the lower outer gilt central medallions incorporating intertwining vegetal motifs and margin, later olive-green leather with stamped central medallions, serrated leaves, doublures of pink paper decorated with gilt floral cornerpieces and bands decorated with floral and vegetal motifs, sprays, with flap, upper cover detached, rebacked slightly worn 218 x 140 mm. 280 x 155 mm.

£3,000 - 5,000 £2,000 - 3,000 €4,100 - 6,800 €2,700 - 4,100 US$4,600 - 7,700 US$3,100 - 4,600

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.

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18 • 19 • AN ILLUMINATED QUR’AN COPIED BY IBN HASAN A QUR’AN MUHAMMAD ISFAHANI SOUTH-EAST ASIA, PROBABLY INDONESIA, LATE 19TH INDIA, PERHAPS DECCAN, FIRST HALF OF THE 18TH CENTURY CENTURY Arabic manuscript on thick lined cream-coloured paper with Dutch Arabic manuscript on paper, 331 leaves, 14 lines to the page written watermarks, 390 leaves, 15 lines to the page written in a cursive script in naskhi script in black ink with diacritics and vowel points in black with vowel points and diacritics in black ink, red roundels between and red, verses marked with red circles, fifth verses marked with verses, inner margins ruled in black, lacking catchwords, sura the letter ha in red, tenth verses marked with the letter ‘ayn and the headings in red within a blank rectangular panel, two coloured double letter ashr in red, sura headings written in red within a panel edged in pages at beginning and end drawn freely, predominantly in yellow, gold, inner margins ruled in black, red, blue and gold, the last three red, brown and black pigments, eight folios detached at end, edges leaves in a different hand and inner margins ruled in black, red and frayed, browned, contemporary red morocco with stamped central yellow, one illuminated double-page frontispiece in colours and gold medallions, cornerpieces and border panels of gilt paper onlay, lower with text interspersed with gold stylised clouds, red morocco with gilt cover and flap detached, spine and edges worn, an inscription in a decoration local language on flyleaf, 320 x 210 mm.; and a wood Qur’an stand, 336 x 210 mm. of folding X-shaped form, carved with stylised floral motifs, probably 19th Century £3,000 - 5,000 the stand 64 x 24 cm. (folded)(2) €4,100 - 6,800 US$4,600 - 7,700 £3,000 - 5,000 €4,100 - 6,800 The colophon gives the scribe’s name and states that the manuscript US$4,600 - 7,700 was completed on Thursday, 11th Jumada al-Awwal. A seal impression on the leaves preceding and following the main text bears For further reading see A. T. Gallop, ‘Islamic Manuscript Art of the name of Sayyid Ghulam Bani Qadiri and is dated AH 1186/ AD Southeast Asia’, in J. Bennett (ed.), Crescent Moon: Islamic Art and 1772-73. Civilisation in Southeast Asia, Canberra 2006, pp. 158-189.

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.

ISLAMIC AND INDIAN ART | 15 20 A CALLIGRAPHIC COMPOSITION, BY HASAN ZARRIN QALAM, CALLIGRAPHER AT THE COURT OF NASR-AL-DIN SHAH QAJAR AND MUZAFFAR-AL-DIN SHAH QAJAR, IN 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 1908 pen 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 20 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, , London 1978, pp. 110-111.

21 A WRONGDOER PUBLICLY EXECUTED, WATCHED BY HIGH OFFICIALS, MEMBERS OF THE CLERGY AND OTHER ONLOOKERS QAJAR PERSIA, SECOND HALF OF THE 19TH CENTURY watercolour 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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16 | BONHAMS 22 AN ILLUMINATED CALLIGRAPHIC PANEL CONSISTING OF SURA AL-FATIHAH WRITTEN IN NASTA’LIQ SCRIPT, COPIED BY GHULAM REZA PERSIA, MID-19TH CENTURY Arabic 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 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 , 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 22 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.

23 A LARGE CALLIGRAPHIC COMPOSITION BY NIYAZ KERIM SHAERQI CHINA, SECOND HALF OF THE 20TH CENTURY/21ST CENTURY pen 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 23 €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’.

ISLAMIC AND INDIAN ART | 17 24 A NISHAPUR CALLIGRAPHIC -PAINTED POTTERY DISH PERSIA, 10TH CENTURY with 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.

18 | BONHAMS ISLAMIC AND INDIAN ART | 19 25 26

25 26 A LARGE SASSANIAN FACET-CUT GLASS BOWL AN ABBASID LUSTRE POTTERY BOWL PERSIA OR MESOPOTAMIA, 5TH-7TH CENTURY MESOPOTAMIA, 10TH CENTURY of deep rounded form, the aubergine glass decorated with bands of shallow rounded form on a short foot with slightly everted rim of circular facets forming a honeycomb design centered on a larger decorated in a yellowish lustre with a peacock on a hatched ground, circular facet to the base the rim with an undulating design, the reverse with a series of rings 12.5 cm. diam. made up of concentric circles on a ground of hatched lines and circle motifs, the base with pseudo kufic inscription £3,000 - 5,000 24.3 cm. diam. €4,100 - 6,800 US$4,600 - 7,700 £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.

20 | BONHAMS 27 28

27 28 A LARGE NISHAPUR BUFFWARE POTTERY BOWL A MINAI OVERGLAZE-PAINTED POTTERY BOWL PERSIA, 10TH CENTURY PERSIA, 12TH/ 13TH CENTURY of deep rounded form with everted rim on a short foot, decorated in of deep rounded form on a long foot, decorated in polychrome yellow, green and manganese on a natural ground with a mounted and gilt on a pinkish-grey ground with an eight-petalled flowerhead warrior surrounded by birds, quadrupeds, floral motifs and pseudo- surrounded by a band of palmettes with four issuing palmette inscriptions pole medallions interspersed by horsemen, the rim with a band of 32 cm. diam. inscription in kufic (undeciphered), the exterior with a band of pseudo inscription, painted collection number to base £4,000 - 6,000 20.7 cm. diam. €5,500 - 8,200 US$6,200 - 9,300 £2,500 - 3,500 €3,400 - 4,800 For a similar buffware pottery bowl decorated with a rider in the US$3,900 - 5,400 Metropolitan Museum of Art, see Charles K. Wilkinson, Nishapur: Pottery of the Early Islamic Period, p. 45, plate 62. 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.

ISLAMIC AND INDIAN ART | 21 29 A LARGE INCISED POTTERY BOWL PERSIA, 12TH CENTURY of 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. 29 30 A KASHAN LUSTRE POTTERY STAR TILE PERSIA, 12TH/ 13TH CENTURY in 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’.

31 A KASHAN LUSTRE FIGURAL POTTERY BOWL PERSIA, 13TH CENTURY of 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 30 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’.

31

22 | BONHAMS 32

32 A KASHAN MONOCHROME POTTERY TILE PANEL PERSIA, 12TH/ 13TH CENTURY of 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

33 AN UNUSUAL UNDERGLAZE-PAINTED POTTERY BOWL EGYPT OR SYRIA, 15TH CENTURY on 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 33 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’.

ISLAMIC AND INDIAN ART | 23 34

35

34 35 A GROUP OF FATIMID GOLD BEADS A PAIR OF SELJUK FILIGREE GOLD EARRINGS EGYPT OR SYRIA, 11TH CENTURY PERSIA, 12TH CENTURY each of spherical form, comprising three decorated in filigree with each consisting of an opening hoop element secured by pin with three petal motifs radiating from each end, the remainder decorated in spherical filigree beads interspersed by fixed beads with three bands repoussé with large petal motifs radiating from each end of circle motifs, the spherical beads decorated in filigree with circles, the largest 1.8 cm. max.; 28g.(11) triangles and other geometric designs the beads 1.4 cm. diam.; 30g (2) £3,000 - 5,000 €4,100 - 6,800 £3,000 - 4,000 US$4,600 - 7,700 €4,100 - 5,500 US$4,600 - 6,200

24 | BONHAMS 36 37

36 37 TWO GOLDEN HORDE REPOUSSÉ GOLD FITTINGS A QARA QOYUNLU HINGED GOLD SEAL OF SA’DAT SULTAN CENTRAL ASIA, 13TH CENTURY NORTH WEST PERSIA, 15TH CENTURY the first of spherical form, engraved and decorated in repoussé with a consisting of two hinged elements which close to form an ovoid band of scrolling foliate motifs, flanked by bands of circle motifs; the pendant engraved to the exterior with scrolling interlace, the tendrils second of elongated triangular form decorated in repoussé with foliate forming a lobed palmette, with trefoil openwork fob, the interior panels vines, on a necklace of carnelian beads opening to reveal an inscription in naskhi script the larger 4.4 cm. long(2) 32 mm. long (open)

£2,000 - 3,000 £4,000 - 6,000 €2,700 - 4,100 €5,500 - 8,200 US$3,100 - 4,600 US$6,200 - 9,300

The chased decoration and workmanship of the gold fittings can Inscriptions: ‘Sa’adat Sultan daughter of Hamzah Tarkhan’. 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 Qara Qoyunlu, or the Black Sheep Turkomans, were a Shia The Art of Adornment: Jewellery of the Islamic Lands Part 2, The Oghuz Turkic tribal federation which ruled over an area to the north Nasser Khalili Collection of Islamic Art Vol. XVII, 2006, nos. 303 and west of Persia which included the present-day Azerbaijan, Armenia, 304, pg. 400. and parts of Iran, Turkey and Iraq. They eagerly adopted the Timurid Closely related examples were discovered in the northern Caucasus at artistic style and their development of pictorial and decorative Gashun-Usta and in the Talas Valley in Kyrgyztan which are currently in schemes. They did not, however, simply reproduce the aesthetic of the collection of the State Hermitage Museum in St Petersburg. One earlier Timurid works. Their manuscripts, for example, blended the of these excavated belt fittings bears the tamgha (heraldic emblem) of distinct metropolitan traditions of Herat and Shiraz. the Batu family, the founder of the Golden Horde khanate.

ISLAMIC AND INDIAN ART | 25 38 A RARE UMAYYAD BRONZE CANDLESTICK SPAIN, 10TH CENTURY of 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 ISLAMIC AND INDIAN ART | 27 39 AN EARLY ISLAMIC BRONZE EWER PERSIA OR MESOPOTAMIA, 8TH/ 9TH CENTURY piriform 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 39 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.

40 A KHORASAN COPPER-INLAID BRONZE EWER PERSIA, 12TH/ 13TH CENTURY of 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 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.

40

28 | BONHAMS 41 A KHORASAN OPENWORK BRONZE INCENSE BURNER IN THE FORM OF A BIRD PERSIA, 12TH CENTURY with 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’.

42 A TIMURID TINNED COPPER BOWL PERSIA, LATE 14TH CENTURY of squat rounded form, engraved with a band of cartouches containing inscription in thuluth, inscription in knotted kufic and vegetal motifs 41 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.

42

ISLAMIC AND INDIAN ART | 29 A PRIVATE COLLECTION OF METALWORK

43 44

43 44 A SAFAVID ENGRAVED BRASS MAGIC BOWL A SAFAVID TINNED-COPPER VASE PERSIA, DATED AH 951/AD 1544 PERSIA, 17TH CENTURY of rounded form with raised central boss on a short foot, profusely in the form of a lamp with compressed globular body on a engraved with inscription-filled roundels and bands, the boss with a short foot with long flaring neck, engraved with cartouches containing flowerhead, the petals overlaid with lotuses and other floral motifs lotuses and other vegetal motifs, various quadrupeds and inscriptions, 9.2 cm. diam. with later owner’s inscription, later tinning to surface 25 cm. high £4,000 - 6,000 €5,500 - 8,200 £3,000 - 5,000 US$6,200 - 9,300 €4,100 - 6,800 US$4,600 - 7,700 Provenance Private UK collection formed in the 1950s and thence by descent. 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/ Inscriptions: Persian couplets one from Sa’di’s Bustan (frequently ‘aqibat khayr bad, found on metalwork, see A. S. Melikian Chirvani, Islamic Metalwork ‘May there be prosperity. May the end be good’; under the base, from the Iranian World, London 1982,p. 252) and the other is Daqigi’s; be-tarikh-e 27 shahr-e mobarak-e ramadan sana 951 ‘on 27 of the owner’s name, Panjeh-Gol, daughter of Khwajah Hafiz Sabzevari; later blessed month of Ramadan the year 951 (12 December 1544)’. owner’s name, Gol-Muhammad Khan son of Rajab Khan.

30 | BONHAMS 45 A SAFAVID PIERCED GILT-STEEL PLAQUE Technically steel panels of this type required great skill to make. PERSIA, DATED AH 1109/AD 1697-98 First a master scribe would have copied the inscription on paper in the form of a lobed cartouche, finely pierced with inscription in and transferred it to the steel by means of a stencil or pounce. Steel thuluth on a ground of scrolling vines issuing flowerheads and split- being primarily used for weapons, it is likely that the maker was a palmettes, traces of gilding swordsmith trained in the discipline of cutting and forging pattern- 34 x 25.2 cm. welded steel.

£20,000 - 30,000 A cusped panel close in date to ours is in the , dated €27,000 - 41,000 AH 1105/AD 1693-94, the year of the death of Shah Suleiman I (inv. US$31,000 - 46,000 OA 358, published in The Arts of Islam, exhibition catalogue, London 1976, no. 235, p. 200). Inscribed with verses from the Qur’an about Provenance King Solomon, it was probably made to adorn the wooden railing or Private UK collection formed in the 1950s and thence by descent. grille on the Safavid ruler’s cenotaph and it is likely that our plaque was intended for a similar purpose. 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).

ISLAMIC AND INDIAN ART | 31 46 47

OTHER PROPERTIES

46 47 A SAFAVID INSCRIBED JADE PENDANT A QAJAR SILVER-MOUNTED INSCRIBED CARNELIAN PERSIA, 17TH CENTURY ARMBAND (BAZUBAND) in the form of a six-petalled flowerhead formed of six inscription-filled PERSIA, 19TH CENTURY cartouches radiating from an inscription-filled roundel rectangular, engraved with a central cartouche containing inscriptions 5.2 cm. max. on a ground of floral interlace, surrounded by four panels containing inscriptions on a ground of scrolling floral vines, the silver mount with £3,000 - 5,000 two hinged suspension loops decorated in openwork with foliate €4,100 - 6,800 motifs US$4,600 - 7,700 8 x 6 cm.

Inscriptions: an invocation to the Prophet as ‘Peace be upon the Lord £3,000 - 5,000 of Messengers!’ and six similar quotations from the Qur’an that are: €4,100 - 6,800 invocations to God’s word (Chapter XXXVI (yasin), verse 58), Al Yasin US$4,600 - 7,700 (Chapter XXXVII (al-safat), verse 130), Abraham (Chapter XXXVII (al- safat) verse 109), Moses and Aaron (Chapter XXXVII (al-safat) verse Inscriptions: in the centre, huwa. ‘azza man qana’a wa dhalla 120), and Noah Chapter XXXVII (al-safat) verse 79), the last being from man tama’a, He (God). Powerful is the one who is content and the Qur’an, chapter XCVII (al-qadr), verse 5) which ends with: ‘Until contemptible is he, who is greedy’; in the borders, Arabic verses the rise of Morn’. attributed to Imam ‘Ali.

32 | BONHAMS 48 A NASRID WOVEN SILK PANEL The centre of production for fine luxurious textiles made for the Nasrid SPAIN, 15TH CENTURY court was Granada. According to the historian al-Maqqari, the city of rectangular form, woven in red, yellow, green and white silk with a was referred to as ‘the of the west’, due to the high quality central panel containing a repeat design of eight-petalled flowerheads, of its silks (Miriam Rosser-Owen, Islamic Arts from Spain, p. 61). The above and below two bands of geometric designs, mounted geometric designs in the border panels of the present lot recall the 87 x 45 cm. intricate tile mosaics which line the walls of the Nasrid apartments at the Alhambra. £8,000 - 12,000 €11,000 - 16,000 US$12,000 - 19,000

ISLAMIC AND INDIAN ART | 33 49 AN IMPERIAL OTTOMAN CINTAMANI SILK AND METAL The design elements of cintamani are sometimes referred to as “tiger THREAD BROCADE FRAGMENT (KEMHA) stripes” and “leopard spots.” Similar iconography is found in 16th BURSA, TURKEY, SECOND HALF OF THE 16TH CENTURY Century Persian manuscript paintings featuring the Shahnama’s hero, of deep pink, yellow and blue silk with metal thread, woven with bands Rustam, who wears a garment of tiger skin and a leopard-skin hat, containing cintamani motifs, mounted and possibly represents the fabric in Ottoman documents called 20.7 x 18 cm. max. pelengi (leopard-like) or benekli (dotted). Occasionally, cintamani is combined with floral elements in a delicate balance of the two £4,000 - 6,000 distinctive styles, or the wavy lines and circular elements are separated €5,500 - 8,200 to create singular motifs. In any combination, elements of cintamani US$6,200 - 9,300 were believed to protect the wearer and him with physical and spiritual fortitude. Most Ottoman silks produced for use within the empire were used either for garments or furnishings. The cintamani was a popular Another kemha fragment dated to the late 16th Century which uses decorative motif reproduced on textiles, usually depicted as two wavy groupings of large and small cintamani triple dot motifs in the same horizontal bands alternating with three circles in triangular formation. palette is in the Victoria and Albert Museum (836-1904) (see Nevber Translated from Sanskrit as “auspicious jewel,” the motif originated in Gursu, The Art of Turkish Weaving, p. 102, fig. 96); and for two further Buddhist imagery, and may represent pearls and flames. related fragments, see Sotheby’s, Art of the , 24 April 2012, lots 157 and 158.

34 | BONHAMS 50

50 AN JUG TURKEY, CIRCA 1580 piriform 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.

51 AN IZNIK POTTERY TANKARD TURKEY, 17TH CENTURY of 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 51 £1,500 - 2,000 €2,100 - 2,700 US$2,300 - 3,100

Provenance Private UK collection.

ISLAMIC AND INDIAN ART | 35 52 53

52 53 AN IZNIK POTTERY DISH AN IZNIK POTTERY DISH TURKEY, CIRCA 1600 TURKEY, CIRCA 1560 of shallow rounded form with everted rim, decorated underglaze in of shallow rounded form with sloping cusped rim, decorated raised-red, cobalt blue and green with black outline with a floral spray underglaze in cobalt blue, green and raised-red with black outline with consisting of a saz leaf, carnations and tulips issuing from a leafy tuft, a spray of tulips, hyacinths and carnations issuing from a leafy tuft, the rim with a rock wave pattern, the reverse with foliate motifs the rim with rock and wave design, the exterior with flowerheads and 31 cm. diam. foliate sprays 30 cm. diam. £3,000 - 5,000 €4,100 - 6,800 £6,000 - 8,000 US$4,600 - 7,700 €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.

36 | BONHAMS 54 AN IZNIK POTTERY TILE PANEL TURKEY, CIRCA 1570 comprising 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.

ISLAMIC AND INDIAN ART | 37 W 55 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 OF SULTAN MUHAMMAD V EARLY 20TH CENTURY the 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 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 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.

38 | BONHAMS ISLAMIC AND INDIAN ART | 39 55 (details of sides)

40 | BONHAMS 55 (panels)

The mahmal is a ceremonial palanquin which accompanied the pilgrim caravan on route to 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 . 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 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.

ISLAMIC AND INDIAN ART | 41 56 56 AN OTTOMAN WOVEN SILK LAMPAS-WEAVE TOMB COVER FRAGMENT TURKEY, 18TH/ 19TH CENTURY rectangular, 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!’.

57 AN OTTOMAN WOVEN SILK LAMPAS-WEAVE TOMB COVER FRAGMENT TURKEY, LATE 19TH/ EARLY 20TH CENTURY rectangular, 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 57 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’.

42 | BONHAMS W 58 Inscriptions: in the borders, Qur’an, surah XLVIII, al-Fath, 27-29; in the A METAL THREAD EMBROIDERED SILK PANEL WITH THE rectangular cartouche, al-salat wa al-salam ‘alayka ya man zinat allah, TUGHRA OF SULTAN MAHMUD II (REG. 1808-1838) of rectangular form, the black, red and green silk ground decorated in ‘Benediction and Peace be upon you O the one Who is the ornament silver and gilt-silver threads with an inscription-filled cartouche and two of God!’; in the roundels, the shahada; the tughra of Mahmud II (reg. inscription-filled roundels on a ground of floral scrolls and garlands, 1808-1838). 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

ISLAMIC AND INDIAN ART | 43 59 AN MOSQUE LAMP WITH THE NAME OF ‘ABBAS HILMI PASHA (REG. 1892-1914) EGYPT, CIRCA 1900 of 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.

44 | BONHAMS ISLAMIC AND INDIAN ART | 45 61

60 A KUTAHYA UNDERGLAZE-PAINTED POTTERY JUG TURKEY, EARLY 19TH CENTURY of 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

61 THREE OTTOMAN GILT-DECORATED BEYKOZ GLASS VASES TURKEY, 19TH CENTURY each 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 60 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

46 | BONHAMS 62 A GREEK ISLANDS SILK-EMBROIDERED LINEN COVERLET BORDER PANEL CRETE, LATE 17TH/ EARLY 18TH CENTURY the 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 is distinguishable from other Greek Island 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.

ISLAMIC AND INDIAN ART | 47 Y 63 A FINE ORMOLU-MOUNTED TORTOISESHELL AND ENAMEL CLOCK CASE FOR THE OTTOMAN MARKET BY MARKWICK- MARKHAM & PERIGAL LONDON, CIRCA 1770 rectangular 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.

48 | BONHAMS ISLAMIC AND INDIAN ART | 49 64 65

64 65 A FRENCH BRASS AND MARBLE NOON CANNON FOR THE AN OTTOMAN ENGRAVED OSTRICH EGG HANGING OTTOMAN MARKET ORNAMENT BY HASAN FEHMI EFFENDI PARIS, DATED AD 1788 TURKEY, DATED MUHARRAM 1278/JULY 1861 of typical form, the circular marble base mounted with a shaped profusely engraved and inlaid with black and red composition with gnomen, a burning lens adjustable against a quadrant with calendar a series of interlocking arched cartouches and roundels containing scale and a small signal cannon, the base inscribed “Loiseau inscriptions, architectural scenes, a steam train, a soldier, a stalk and a Ingr. Optn. 35. Quai de l’horloge Paris” and below in Arabic, dervish, with gilt copper (tombak) mounts to each end “Constantinople” “Mecca” and “Medina”, the latitude 35 degrees 40 18 cm. high minutes, and date AD 1788 24cm. diam. £2,000 - 3,000 €2,700 - 4,100 £2,000 - 3,000 US$3,100 - 4,600 €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 The noon cannon reached the height of its popularity in the 18th egg’; on the top, ‘Drawn by Hasan Fehmi Effendi .... In 17 m century. The small cannon was loaded with a charge of gunpowder. [Muharram?], year 1278 (25 July 1861)’. 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.

50 | BONHAMS 66 67

Y Ф 66 67 A GILT AND SILVER PLATED COPPER PANEL WITH THE A PORTRAIT OF SULTAN ‘ABDULMECID I (REG. 1839-61) TUGHRA OF SULTAN ABDULMECID II TURKEY, OR FRANCE, 1840-50 TURKEY, CIRCA 1900 gouache on an oval ivory disk, depicted wearing embroidered robes of rectangular form with curved corners and lobed ends, the applied and a red tarboosh with plume, in an ornate silver frame central oval panel with applied openwork tughra, the applied border 105 mm. high; frame (inc. suspension loop) 160 mm. high in the form of stylised interlaced palmettes, applied inscription-filled cartouche to reverse £3,000 - 5,000 29 x 23 cm. €4,100 - 6,800 US$4,600 - 7,700 £3,000 - 4,000 €4,100 - 5,500 A number of small portraits on ivory of Sultan ‘Abdulmecid exist. US$4,600 - 6,200 The Armenian Manas brothers Sebuh and Josef, sent by Mahmud II to Paris for training, both worked for the palace during the reign of Inscriptions: to reverse, ‘Muhammad Salim. The Exalted Capital (dar Abdulmecid. Numerous portraits both signed and unsigned by Sebuh al-khilafah)’. (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).

ISLAMIC AND INDIAN ART | 51 68

69

W W 68 69 A KUTAHYA UNDERGLAZE-PAINTED POTTERY TILE PANEL BY A KUTAHYA UNDERGLAZE-PAINTED POTTERY TILE PANEL BY AZIM ÇINI AZIM ÇINI TURKEY, CIRCA 1950 TURKEY, CIRCA 1950 rectangular, decorated in polychrome with Iznik style decoration rectangular, decorated in polychrome with Iznik style decoration consisting of a repeat design of interlocking cartouches formed from consisting of a repeat design of interlocking cartouches formed from undulating split palmettes filled with sprays of tulips, saz leaves, lotus undulating split palmettes filled with sprays of tulips, saz leaves, lotus flowers and other floral and foliate motifs, the border with alternating flowers and other floral and foliate motifs, the border with alternating flowerheads and saz leaves, some tiles inscribed ‘AZIM’ verso flowerheads and saz leaves, some tiles inscribed ‘AZIM’ verso 420 x 160 cm. 341 x 160 cm.

£3,000 - 4,000 £2,000 - 3,000 €4,100 - 5,500 €2,700 - 4,100 US$4,600 - 6,200 US$3,100 - 4,600

Provenance Provenance European private collection. European private collection. Irfan Kipman. Irfan Kipman.

52 | BONHAMS 70

71

70 71 A CANTAGALLI IZNIK STYLE POTTERY DISH AN OTTOMAN SILVER FILIGREE MIRROR ITALY, 19TH CENTURY TURKEY, 19TH CENTURY of shallow form with flattened rim on a splayed foot, decorated in in the form of a lobed cartouche, with silver filigree border, the reverse polychrome on a white ground with split palmettes, cintamani motifs, clad in crimson velvet with applied filigree floral sprays with bees saz leaves and flowerheads on a ground of fish scale design, the 53 x 40 cm. reverse with tulips and stylised flowerheads, maker’s mark to base 40.2 cm. diam. £2,000 - 3,000 €2,700 - 4,100 £2,000 - 3,000 US$3,100 - 4,600 €2,700 - 4,100 US$3,100 - 4,600

ISLAMIC AND INDIAN ART | 53 72

72 A HAND-COLOURED SILVER-INLAID BONE FAN DEPICTING AN OTTOMAN STREET SCENE FRANCE, CIRCA 1850 each 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

73 A MOTHER OF PEARL-INLAID OLIVE WOOD CRUCIFIX JERUSALEM, 18TH CENTURY on 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

W 74 A BOKHARA SILK EMBROIDERED LINEN PANEL (SUSANI) UZBEKISTAN, 19TH CENTURY rectangular, 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 73 118 x 237 cm.

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

54 | BONHAMS 74

75 A SASSANIAN REVIVAL SILVER EWER PERSIA, 20TH CENTURY piriform 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 75 €2,700 - 4,100 US$3,100 - 4,600

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

ISLAMIC AND INDIAN ART | 55 76 77

76 77 A PAIR OF GILT AND ENAMELLED GLASS LAMPS FOR THE A GILT AND ENAMELLED GLASS CANDELABRUM FOR THE QAJAR MARKET QAJAR MARKET BOHEMIA, 19TH CENTURY BOHEMIA, 19TH CENTURY each with cut glass baluster supports on splayed feet with removable the cut glass base surmounted by two acanthus leaves, a central shaft shades and pendant glass shards, the shades decorated in with drip tray and two shafts surmounted by drip trays and detachable polychrome and gilt with lion and suns flanked by urns with issuing shades, the drip trays with pendant glass shards, profusely decorated floral sprays in gilt and polychrome enamel with floral and foliate motifs each 61 cm. high(2) 68 cm. high

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

56 | BONHAMS 78 A LOBMEYR ENAMELLED GLASS DISH Inscriptions: in Arabic, repeat of, al-’aql aqwaya asas wa al-taqwa VIENNA, CIRCA 1880 afdal al-ba’s, ‘Reason is the strongest foundation and pious life, the of shallow form, the clear glass decorated in polychrome enamels and best of fortitude’; in German, ‘Intelligence is man’s best support, gilt with a central roundel containing geometric designs based around honesty is man’s best trait.’ a six-pointed star surrounded by a narrow band containing Arabic inscriptions in naskhi and a wide band containing radiating petal motifs For a similar dish sold at Christie’s see Art of the Islamic and Indian alternately filled with geometric designs and floral sprays and flanked Worlds, 31 March 2009, lot 231. 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

ISLAMIC AND INDIAN ART | 57 79 80

79 80 A LARGE PAINTED GESSO ALHAMBRA MIHRAB PLAQUE A SILVER-PLATED NASRID REVIVAL WALL CABINET GRANADA, CIRCA 1900 PROBABLY FRANCE OR GERMANY, CIRCA 1880 rectangular, decorated in red, blue, black and gilt with a mihrab niche of rectangular form with crest and pendant finials to base, with two with two windows above, framed hinged doors above a drawer, the lock hidden by a hinged plate, 70 x 41.5 cm. including frame profusely cast with vegetal and geometric designs, the doors in openwork with red fabric behind, one door knob stamped ‘FRANCE’, £2,000 - 3,000 the reverse stamped with maker’s mark, ‘GESETZLICH GESCHUTZT’ €2,700 - 4,100 and registration number 2314, with wood interior US$3,100 - 4,600 60 x 35 x 18 cm.

Inscriptions: in cursive, repeat of the Nasrid motto (in panels as well £3,000 - 4,000 as in the small roundels), wa la ghalib illah allah, ‘And there is no €4,100 - 5,500 conqueror except God’; in kufic, a repetition of the shahadah. US$4,600 - 6,200

58 | BONHAMS 81 82

W W 81 82 A NASRID REVIVAL MARQUETRY WOOD CABINET AND STAND A NASRID REVIVAL MARQUETRY WOOD BOOKCASE GRANADA, 19TH CENTURY GRANADA, 19TH CENTURY the cabinet with three tiers of drawers with central door opening with four shelves, the second with a four-bay arcade, the first and to reveal two further drawers, decorated in bone and specimen fourth with carved wood openwork spandrels surmounted by wood inlay with geometric and architectural motifs, surmounted by inscription-filled cartouches, the third shelf with two drawers, the top openwork balustrade with turned wood finials, on four feet, the stand shelf surmounted by small pavilion and turned wood balustrade to in the form of an openwork arcade with carved openwork wood back and sides spandrels, on six feet 174 x 110 x 46 cm. 155 x 90 x 35 total size(2) £3,000 - 4,000 £3,000 - 4,000 €4,100 - 5,500 €4,100 - 5,500 US$4,600 - 6,200 US$4,600 - 6,200

ISLAMIC AND INDIAN ART | 59 83 84

83 84 AN OTTOMAN GILT-DECORATED BOW (YAI) AN OTTOMAN MOTHER-OF-PEARL INLAID MIQUELET TURKEY, EARLY 19TH CENTURY FLINTLOCK RIFLE the outer face made from a strip of buffalo horn and the inside TURKEY, 19TH CENTURY lacquered and painted in red and black and decorated with gilt scrolls the wood butt and stock inlaid with a lattice design of lozenge and floral sprays shaped mother of pearl fragments, the steel barrel decorated in gold 94 cm. long damascene near the muzzle and lock with scrolling vines terminating in large cyprus motifs £4,000 - 6,000 96.5 cm. long €5,500 - 8,200 US$6,200 - 9,300 £2,500 - 3,500 €3,400 - 4,800 For a similar example which is signed and dated see R. Hales, Islamic US$3,900 - 5,400 and Oriental Arms and Armour, no. 721; and A. Taskin (ed.), : 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.

60 | BONHAMS 85

86

Y 85 86 A LARGE QAJAR WALRUS IVORY-HILTED DAGGER A REPOUSSÉ GOLD-MOUNTED STEEL SWORD (SAIF) PERSIA, 19TH CENTURY PRESENTED TO SIR HAROLD BEELEY KCMG, CBE (1909-2001) the steel blade with central raised ridge, decorated in gilt to both sides SAUDI ARABIA, CIRCA 1950 with inscription-filled cartouches to upper blade and series of lobed the steel blade of tapering form, the hilt and cross guard clad entirely cartouches containing floral elements continuing down to point; the in gold, with gold chain linking quillon and pommel, the wood ivory hilt deeply carved with ruler and attendants between two bands scabbard clad entirely in gold, decorated in repoussé with floral of inscriptions; the wood sheath with red velvet cover and silver gilt sprays, geometric designs and other floral motifs fittings 98 cm. long 53cm. long £2,000 - 3,000 £5,000 - 6,000 €2,700 - 4,100 €6,800 - 8,200 US$3,100 - 4,600 US$7,700 - 9,300 Provenance Inscriptions: on the hilt, two couplets in praise of a dagger commonly Sir Harold Beeley; and thence by descent. 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 Sir Harold Beeley KCMG, CBE (15 February 1909 – 27 July 2001) eulogizing Sultan Sanjar, the second from a qasidah by Kamal al- was a British diplomat, historian, Middle East advisor to Ernest Bevin, Din Muhtasham Kashani (d. 996/1588); on the blade, an inscription twice appointed British Ambassador to Cairo during both Suez crises mentioning the name Fereydun Sultan who might be the Qajar Prince & founder of the World of Islam Trust in London. Between 1930 and Fereydun Mirza (d. 1272/1855-6), a son of ‘Abbas Mirza. 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.

ISLAMIC AND INDIAN ART | 61 A PRIVATE COLLECTION OF DAGGERS

87 88

Y Ф 87 88 AN OTTOMAN JADE-HILTED WATERED-STEEL DAGGER AN OTTOMAN IVORY-HILTED DAGGER WITH NIELLO AND TURKEY, 18TH CENTURY PARCEL-GILT SCABBARD the double-edged watered steel blade of slightly curved tapering form, THE BALKANS, DATED AD 1794 decorated with a series of conjoined palmette motifs to each side, the single-edged steel blade of tapering from with flattened spine, the jade hilt of waisted form, the wood scabbard glad in green velvet inlaid in silver with trefoil motifs, the forte and centre of grip clad in with Persian gold-damascened steel mounts decorated with floral and silver decorated in niello with floral motifs, the grips of ivory with large foliate motifs ears, the wood scabbard clad entirely in silver decorated in niello with 47 cm. long geometric motifs, scrolling vines and other foliate motifs, dated 1794 to one side, silver-gilt mounts to each end and hinged suspension £2,000 - 3,000 loop to one side €2,700 - 4,100 40.4 cm. long US$3,100 - 4,600 £2,000 - 3,000 Provenance €2,700 - 4,100 Private UK collection formed in the 1940s and 50s and thence by US$3,100 - 4,600 descent. Provenance Private UK collection formed in the 1940s and 50s and thence by descent.

62 | BONHAMS ≈ 89 AN OTTOMAN GEM-SET JADE-HILTED DAGGER TURKEY, 19TH CENTURY the 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

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

ISLAMIC AND INDIAN ART | 63 90

91

90 91 TWO MUGHAL JADE-HILTED DAGGERS AN ENAMELLED SILVER-HILTED WATERED-STEEL DAGGER NORTH INDIA, 18TH/ 19TH CENTURY PROBABLY BENARES, NORTH INDIA, 19TH CENTURY the first with double-edged watered steel blade with raised central the single-edged watered steel blade of tapering form with flattened spine, the hilt of waisted form and carved with large foliate motifs spine, the forte decorated in gold koftgari with floral and foliate and floral vines, the end of the pommel with flowerhead, the wood interlace, the multifaceted silver hilt profusely decorated in polychrome scabbard clad in leather with jade mount to top end carved with floral enamels with undulating floral vines, above and below bands of sprays and suspension loop to one side; the second with single- flowerheads, the pomel with six-petaled rosette surmounted by edged watered steel blade of curving form, the forte of silver-gilt suspension loop, the wood scabbard clad entirely in silk and metal engraved with foliate interlace, the jade hilt carved with floral sprays, thread cloth the wood scabbard clad in green velvet with repoussé silver mounts 32.6 cm. long to each end the larger 40.3 cm. long(2) £2,000 - 3,000 €2,700 - 4,100 £2,000 - 3,000 US$3,100 - 4,600 €2,700 - 4,100 US$3,100 - 4,600 Provenance Private UK collection formed in the 1940s and 50s and thence by Provenance descent. Private UK collection formed in the 1940s and 50s and thence by descent.

64 | BONHAMS Y 92 A GOLD-MOUNTED AND ENAMELLED RHINOCEROS HORN- HILTED DAGGER (JAMBIYYA) MOROCCO, LATE 19TH CENTURY the 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.

ISLAMIC AND INDIAN ART | 65 94 93

OTHER PROPERTIES

93 95 A WATERED-STEEL DAGGER A BRONZE CAST OF A SRI LANKAN DAGGER (PIHA KAETTA) DECCAN, CIRCA 1600 SIGNED “F. BARBEDIENNE” the double-edged watered-steel blade of flat form widening to mid- FRANCE, 19TH CENTURY section, the grip with several elements, the first of baluster form the broad single-edged blade with fuller along the back edge decorated with spiral bands, the second of multi-faceted form, steel decorated with silver-overlaid arabesques, the forte covered with cast guards to forte and pommel and pierced silver panels, the carved hilt with silver-pommel cap, the 34cm. long wood scabbard with similarly decorated mounts and blue velvet cover 43cm. long £3,000 - 4,000 €4,100 - 5,500 £3,000 - 4,000 US$4,600 - 6,200 €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. The F. Barbedienne foundry was started in Paris in 1838 by Ferdinand Barbedienne and Achille Collas, who was the inventor of a machine 94 that mechanically reduced statues. A BRONZE TIGER HEAD SIGNAL CANNON INDIA, PERHAPS DECCAN, 18TH CENTURY The firm, called Collas & Barbedienne, specialized in reproductions of tapering form with long trunnions, the muzzle and breech in the of antique and modern sculpture and eventually employed about form of tiger heads, a large cast palmette to the chase, the remainder 300 artists and workers, who produced as many as 1,200 subjects, of the barrel engraved with a band of flowerheads and a band including the work of Michelangelo, Luca della Robbia and Antoine- containing a lattice filled with circle motifs Louis Barye, as well as making busts of historical notables. By 1850 20 cm. long the firm was also producing a wide range of decorative objects— chandeliers, vases and furniture. Between 1850 and 1854 the firm £2,000 - 3,000 provided furnishings in the Renaissance Revival style for the Hôtel €2,700 - 4,100 de Ville, Paris. From 1851 the firm, by then known as Barbedienne, US$3,100 - 4,600 received numerous medals at the international exhibitions, including medals in three different classes at the International Exhibition of 1862 in London.

66 | BONHAMS 95

96 97

Y 96 97 A GOLD KOFTGARI STEEL-MOUNTED RHINOCEROS HIDE A PAINTED LEATHER SHIELD (DHAL) SHIELD RAJASTHAN, 19TH CENTURY of convex form, decorated in polychrome and gold paint with black INDIA, 19TH CENTURY of convex form with everted rim, the tan coloured hide mounted with outline with four lions fighting with other animals and a central oundelr six steel bosses decorated in gold koftgari with floral and foliate motifs, containing a sun with a human face, the border with a band of the reverse with steel hoops, leather straps and crimson velvet pads animals, mounted with four repoussé silver bosses 46 cm. diam. 56 cm. diam.

£2,000 - 3,000 £2,500 - 3,500 €2,700 - 4,100 €3,400 - 4,800 US$3,100 - 4,600 US$3,900 - 5,400

ISLAMIC AND INDIAN ART | 67 98 99

98 99 A KHMER BRONZE SEATED FIGURE OF BUDDHA A KHMER BRONZE STANDING FIGURE OF AN ADORNED MUCHALINDA BUDDHA CAMBODIA, LATE 12TH/ EARLY 13TH CENTURY CAMBODIA, 12TH CENTURY cast, seated cross-legged in dhyanamudra on the coils of Muchalinda, standing in sampada with his hands in vitarkamudra and incised beneath the seven-headed canopy of the serpent king, wearing a chakras on his palms, dressed in a robe hanging gracefully from his short loincloth around his waist, adorned with elaborate jewellery, a forearms with a slightly curved edge and tapering hems, wearing crown or headdress surrounding his hair piled high and surmounted elaborate belt, ornate necklaces and bracelets, elaborate earrings in by a conical ushnisha, his face with serene expression, downcast eyes elongated earlobes, the face with serene expression, hair piled high and hands held in his lap holding a stupa or fruit and secured under tiara, on later stand 32.5 cm. high (approx.) 18.4 cm. high

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

Provenance Provenance Private UK collection. Purchased by the present owner’s godfather from Spink & Son in Formerly in a UK collection formed in the 1980s. 1984; formerly in the collection of Baron Freddy Rolin.

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.

68 | BONHAMS W 100 A CARVED RELIEF SANDSTONE PANEL NORTH OR CENTRAL INDIA, 8TH/9TH CENTURY carved 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 100 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.

101 A BRONZE FIGURE OF VISHNU NORTHEASTERN INDIA, PALA PERIOD, 9TH/10TH CENTURY standing 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.

101

ISLAMIC AND INDIAN ART | 69 102 A RARE AND FINE MOTHER-OF-PEARL AND BLACK LAC OVERLAID WOOD TRAY , LATE 16TH/ EARLY 17TH CENTURY of 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 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).

70 | BONHAMS ISLAMIC AND INDIAN ART | 71 102 (detail)

Two shields both attributed to the 16th century - one in the Armoury of patrons in Europe, the Near East and Turkey as most of the mother- the Topkapi Museum and another in the Museo Nazionale del Bargello of-pearl inlaid items seem to have been. - have figural designs closest to our tray. The Topkapi shield (Les The painted reverse of our tray is characteristic of a group of mother- Tresors de Turquie, Skira, Geneva, 1966, p. 235) dated to circa AD of-pearl inlaid caskets of the 16th and 17th centuries all of which 1525 features very Persian-looking figures wearing turbans engaged have their interiors and bottoms painted red (Jaffer, op. cit, 2002, p. in hunting scenes and figures paying homage to an enthroned ruler, 24). The cartouche and shamsa decoration is related to manuscript leading scholars to attribute this shield initially to Iran. The Florence illumination and bookbinding techniques of the Mughal and Safavid shield, attributed to the mid-16th century, shows courtly scenes, such periods. 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- The inspiration for Gujarati mother-of-pearl production remains 55). All of these share similar vegetal ornament in the background, unclear. A suggestion is that East Asian examples, such as Korean with dense comma-shaped leaves springing from curling stems. sutra boxes (caskets with bevelled lids, some attributed to the 12th- 13th century), were imported to Western India, where the technique The most striking feature of our tray is the presence of a series of was emulated by local craftsmen. angels or winged figures carrying birds or vessels, which do not appear on any other recorded example of mother-of-pearl inlaid The fragile nature of the medium has meant that only around 30 works. These angels show Safavid, Indian and European influence. recorded examples survive, now almost entirely in museums. This Parallels for these figures may be found in both Indian and Safavid unique tray represents an extremely important addition to this corpus. 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 , 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 102 (reverse detail)

72 | BONHAMS 102 (reverse)

102 (details)

ISLAMIC AND INDIAN ART | 73 103 A MOTHER-OF-PEARL-HILTED DAGGER GUJARAT, 17TH CENTURY the 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 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.

74 | BONHAMS 104 AN INDO-PORTUGUESE PARCEL-GILT SILVER GOA STONE HOLDER AND STONE GUJARAT, LATE 17TH CENTURY made 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.

ISLAMIC AND INDIAN ART | 75 W 105 A BONE-INLAID CABINET GUJARAT OR SINDH, CIRCA 1700 rectangular 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

105

W Y Ф 106 AN IVORY-INLAID CABINET GUJARAT OR SINDH, EARLY 17TH CENTURY of 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.

106

76 | BONHAMS 107

107 AN INDO-PORTUGESE PARCEL-GILT SILVER GOA STONE HOLDER GUJARAT, LATE 17TH CENTURY made 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. 107

For comparison see the British Museum: 1978,1002.804 and the Science Museum (London) A66178.

108 AN INDO-PORTUGUESE SILVER FILIGREE CASKET PROBABLY GOA, WESTERN INDIA, 17TH CENTURY of 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. 108 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 seventeenth108 century (Mughal Silver Magnificence, exhibition catalogue, Brussels, 1987, no. 225, p. 152).

ISLAMIC AND INDIAN ART | 77 110

109 A MUGHAL CUT AND VOIDED VELVET PANEL INDIA, MID 17TH CENTURY silk, 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.

110 AN EMBROIDERED SUMMER CARPET () GUJARAT, SECOND HALF OF 17TH CENTURY silk 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

78 | BONHAMS 111

W Y Ф 111 A MUGHAL SANDALWOOD AND HARDWOOD CABINET WITH GEORGE II DOORS AND STAND INDIA AND ENGLAND, 17TH AND 18TH CENTURY the 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

112 A MUGHAL CALLIGRAPHIC CUERDA SECA POTTERY TILE NORTH INDIA, 17TH CENTURY of 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 - 8,200 112 US$6,200 - 9,300

ISLAMIC AND INDIAN ART | 79 113 114

113 114 AN ENGRAVED BRONZE TALISMANIC PLAQUE A SILVER-OVERLAID ALLOY BIDRI HUQQA BASE DECCAN, 17TH/ 18TH CENTURY BIDAR, SECOND HALF OF THE 18TH CENTURY of circular form, engraved to one side with fifteen lines of inscription, to of bell-shaped form, decorated in silver overlay with a band of floral the other with a magic square and inscriptions, the edges drilled with sprays, above and below bands containing floral vines and geometric three holes, the top with possibly later mounted handle of baluster motifs, the multifaceted neck with further floral sprays form fitted with four rotating dragon head elements 17cm. high 20 cm. max. £3,000 - 4,000 £2,000 - 3,000 €4,100 - 5,500 €2,700 - 4,100 US$4,600 - 6,200 US$3,100 - 4,600 The huqqa base is decorated in the reverse or aftabi technique, Inscriptions: on one side, Qur’an, sura II, al-baqarah, verses 255 and where the background is in silver overlay and the motifs have been 256, followed by the call to God to bless The Fourteen Innocents; on cut through to reveal the black base metal underneath. For a similar the other side, the nada ‘ali quatrain, Qur’an, sura LXVIII, al-qalam, huqqa base see Mark Zebrowski, Gold, Silver and Bronze from verses 51 and 52, as well as magic numbers. Mughal India, London, 1997, p.237, ill.398.

80 | BONHAMS 115

116

115 116 AN OPENWORK BRASS PROCESSIONAL STANDARD (‘ALAM) AN OPENWORK BRONZE PROCESSIONAL STANDARD (‘ALAM) SECTION DECCAN, 17TH/ 18TH CENTURY DECCAN, INDIA, DATED AH 1203/AD 1788 of drop-shaped form decorated in openwork with a central panel of square form with sloping roof, a circular opening at the top, each containing inscriptions surrounded by a border of inscriptions, the corner supported with a pillar-shaped shaft with a bud finial, the border with six cast dragon heads, surmounted by a crest consisting sides with openwork decoration composed of a square central of four tapering elements, mounted panel bearing inscriptions within a floral border, a narrow border of 52.5 x 46 cm. crenellations above, the roof with inscription-filled cartouches flanked by cypress trees and inscription-filled borders £5,000 - 7,000 22 x 17 x 17 cm. €6,800 - 9,600 US$7,700 - 11,000 £4,000 - 6,000 €5,500 - 8,200 Inscriptions: in the centre, the names, ‘God, Muhammad, ‘Ali’; in the US$6,200 - 9,300 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 Inscriptions: Qur’an, sura CVIII, al-Kawthar and sura CIX, al-Kafirun, (al-baqarah), verse 255, in the band under the openwork, remains of and invocations to God. On the sides, a repetition of: ‘O Muhammad!’ an inscription in Persian, .... marjan shah-e vali ra hast bandeh/...... , ‘.... Marjan is the salve of Imam ‘Ali ....’

ISLAMIC AND INDIAN ART | 81 117 A SILK LAMPAS PANEL ASSAM, 18TH CENTURY woven 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.

118 A CHINTZ PALAMPORE FOR THE EUROPEAN MARKET DEPICTING A TREE OF LIFE COROMANDEL COAST, SOUTH INDIA, LATE 18TH/ EARLY 19TH 117 CENTURY cotton, 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)

118

82 | BONHAMS 119 A LARGE SILK EMBROIDERED COVERLET MADE FOR THE Another coverlet of this type on a dark blue silk ground is in the Museu PORTUGUESE MARKET Nacional de Arte Antiga in Lisbon (inv. no. 837). BENGAL, EARLY 19TH CENTURY pastel green plain weave silk embroidered with floss silk in These particular trade embroideries, made in Bengal for the yellow, pink, dark rose and white; decorated with an overall design of Portuguese market, are usually profusely decorated in brilliant colours stylised leaves and flowers, surrounded by a similarly decorated wide with floral and foliate decoration around a central coat of arms or border escutcheon where the Indian embroideries often interpret the original 216 x 297 cm.; (including fringe) 260 x 362 cm. European design. Earlier 17th Century examples include figures in contemporary Portuguese dress as can be seen in an embroidered £4,000 - 6,000 bedcover with personifications of the Five Senses in the Philadelphia €5,500 - 8,200 Museum of Art (acc.no. 1988-7-4). US$6,200 - 9,300

ISLAMIC AND INDIAN ART | 83 120 121 AN ENAMELLED SILVER HUQQA BASE AN ENAMELLED SILVER BEAKER LUCKNOW, EARLY 19TH CENTURY LUCKNOW, EARLY 19TH CENTURY bell-shaped, with slightly flaring ridged neck, decorated with dark of slightly flaring form, decorated in blue, green and yellow enamels blue, green and deep red enamels, the body with oval medallions depicting hunting scenes, quadrupeds and birds amidst scrolling comprising birds amidst floral decoration, interspersed with birds foliage within narrow borders of diamond shaped motifs, a frieze of perched on hanging floral vines above peacocks, bands of scrolling large stylised leaves around base, a band of scrolling floral vine around floral vines to shoulder and base within narrow borders of diamond- rim, traces of gilding to inside and to base shaped motifs, similar decoration to neck, traces of original gilding 9.5 cm. high; 179 g. 19 cm. high; 19.8 cm. diam.; 1260 g. £2,000 - 3,000 £7,000 - 9,000 €2,700 - 4,100 €9,600 - 12,000 US$3,100 - 4,600 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.

121

120

84 | BONHAMS ≈ 122 A MUGHAL GEM-SET JADE STEM CUP INDIA, 18TH CENTURY of 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.

ISLAMIC AND INDIAN ART | 85 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, 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 (reverse) 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 123 a style introduced by the Mughal Emperor . During Emperor A FINE GEM-SET ENAMELLED GOLD TURBAN ORNAMENT ’s reign the simple plume underwent a transformation (JIGHA) into an elaborate gem-studded creation incorporating some of the NORTH INDIA, 18TH CENTURY treasury’s finest jewels. As befits a symbol of power and prestige, set with diamonds, carved emerald and pink tourmaline in gold, on the turban ornament was made of valuable materials, with gems in a lac core; the central section in the form of a rosette set with a pink kundan settings. Enamelling was used to decorate the back of turban tourmaline of octagonal outline and polished surface, surrounded by ornaments, probably from the mid-17th century onwards. A significant diamonds; surmounted by a floral bud, set with a drop shaped carved feature of the ornament was the plume of heron feathers placed in the emerald, with diamond-set leaf motifs and surround; the curved small socket (parkhane) at the back of the jewel. tapering aigrette above comprising a line of graduated diamonds with a diamond-set border on either side in pointed leaf settings, Early turban ornaments at the Mughal court comprised a plumed terminating in a diamond-set flower head with a pearl suspension; device (jigha) without a horizontal element. However, there were the reverse with elegant gold floral enamelled decoration on a green variations in the form since the time of Akbar. Earlier jighas have a ground, a receptacle for a feather (kalgi); hinged enamelled stem (tana) long straight stem protruding below the rosette that was used for below the gem-set rosette with similar green and gold enamelling securing the piece into the folds of a turban. Known examples of

straight-stemmed jighas include one in gold in the Victoria and Albert 17.2 cm. long; 68.2 g. Museum, London (IM 240-1923), one in jade at the State Hermitage, St Petersburg (VS-443). There are two examples in the Al-Thani £30,000 - 40,000 collection. They all date from the late 17th to the early 18th centuries. €41,000 - 55,000 An 18th century example sold in these rooms, Islamic and Indian Art, US$46,000 - 62,000 24 April 2012, lot 225.

Provenance It has been suggested that the turban ornament retained the jigha form Private UK collection; during the first three-quarters of the 18th century, with a single plume By repute given by Maharaja Ranjit Singh (1780-1839) to Maharaja of jewels on a long stem. A double portrait of the Maratha Peshwa Sahib Singh of Patiala(1773-1813) in 1808, thence by descent Madhav Rao II Narayan (reg.1782-95) and his minister Nana Fadnavis,

painted by James Wales in Pune in 1792, shows both figures wearing The jigha is thought to have been on the turban of Maharaja Ranjit a separate jigha above a sarpatti, and a horizontal jewelled band Singh when he met Maharaja Sahib Singh of Patiala in November 1808 beneath. This style appears to be a prelude to the combination of and they exchanged turbans as a sign of conciliation. the two forms into a single, larger ornament. The development of

turban ornaments and jewels throughout India broadly followed the In the summer of 1799, Maharaja Ranjit Singh had taken over Lahore. Mughal model during the 18th century. The scale and impact of turban In the decade that followed, he set about consolidating the Sikh ornaments grew in the early 19th century, the combined jigha and Empire. The north western and north eastern frontiers of the sarpatti expanding to include multiple rosettes hinged together. 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 Literature not in the eyes of the British and with some reluctance by the chiefs of A. Jaffer (ed.) (with contributions from M.Spink, R. Skelton), The Al the Cis-Sutlej states, including Patiala. In 1808, the British Government Thani Collection: Beyond Extravagance – A Royal Collection of Gems received intelligence that the French were planning the conquest of and Jewels, New York, 2013 Kabul and Punjab. Governor-General Wellesley sent a young Charles H. Singh (ed.), The Encyclopaedia of Sikhism, Vol. IV, Patiala, 1998 Metcalfe as his envoy to conduct negotiations with Maharaja Ranjit K. Singh, History of the Sikhs, Vol. I, 1469-1839, Delhi, 1977 Singh in Lahore. In September 1808, Metcalfe met the Maharaja and U. Bala Krishnan, Indian Jewellery: Dance of the Peacock, , presented him with a treaty for joint action against the French in the 2001 event of an invasion. In return, Ranjit Singh asked for his suzerainty

86 | BONHAMS ISLAMIC AND INDIAN ART | 87 124

Y Ф 124 125 A CARVED IVORY PENBOX WITH THE NAME OF KHUDA- A LARGE SILVER SEAL OF COLONEL VERE WARNER HUSSEY BAKHSH (D. 1823) DELHI, 19TH CENTURY NORTH INDIA, DATED AH 1205/AD 1790-91 of rectangular form on four feet, the lid opening to reveal two of multifaceted domed form with compressed spherical finial, partitions, the larger with removable tray, the wood interior clad entirely engraved to each facet with foliate vines, the circular face with five in ivory panels profusely carved with cartouches containing floral lines of inscription in nasta’liq script, the border with a band of circle sprays and foliate motifs, the central panel to the lid with inscription- motifs filled cartouche, the borders with friezes of carved foliate motifs, the 11.7 cm. long base with painted bone panels and inlaid bone cartouches 29 x 8 x 7.8 cm. £2,000 - 3,000 €2,700 - 4,100 £5,000 - 7,000 US$3,100 - 4,600 €6,800 - 9,600 US$7,700 - 11,000 Inscriptions: ‘The brilliance of the government (lami’ al-dawlah), the thunder of kingdom (ra’d al-mulk), Colonel Vere Warner Henry Inscriptions: a Persian couplet in nasta’liq, ey to bashi dar jahan sar- Bahadur, the lightening at war (barq jang), the devotee of the Warrior daftar-e ahl-e qalam marja’-e arbab-e danish mafkhar-e ahl-e qalam, King, Shah ‘Alam, 1205 [regnal year] 33 (1790-91)’. ‘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 Lieutenant-Colonel Vere Warner Hussey embarked for Bengal in 1770 panel below, ya khoda-bakhsh, ‘O Khuda-bakhsh!’. having been appointed to the artillery. Following a severe wound, received in the Carnatic under the command of General Sir Eyre The Khuda-bakhsh referred to in the inscription may be Khuda-bakhsh Coote, he was appointed by Warren Hastings as commissary of Bahadur Khan (1842-1908), the founder of the Khuda-bakhsh Oriental ordnance and stores to the Artillery in the province of Benares. He Public Library in Patna. 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.

125 125

124

88 | BONHAMS 126

127

Y Ф 126 127 A SILVER THREE-PIECE TEA SERVICE BY T.P.R. & CO. WITH A REPOUSSÉ SILVER CHINAR LEAF TEA SET ASSOCIATED TRAY KASHMIR, LATE 19TH CENTURY comprising a tray, a teapot, cream jug, sugar bowl and associated BOMBAY, LATE 19TH CENTURY comprising a teapot, sugar bowl and cream jug of oval form, on bun second sugar bowl, decorated in repoussé with an interlaced design feet, chased with a band of Indian deities within cusped medallions consisting of large chinar leaves, the teapot with wood handle surrounded by scrolling foliage, the handles modelled as elephant the tray 34 x 26.5 cm.; 1484g. (total weight)(5) 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 £2,000 - 3,000 with ivory insulators, each with maker’s mark ‘T.P.R. & Co., Bombay’ €2,700 - 4,100 to base, the sugar bowl and cream jug with gilt interiors; the tray of US$3,100 - 4,600 rectangular form with conforming handles, chased with an elaborate border of village musicians and temples For a dish of a similar type see Vidya Dehejia, Delight in Design, Indian the teapot 15.5 cm. high, the tray 53.8 cm. wide (including handles); Silver for the Raj, 2008, no. 65 p. 160. 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)

ISLAMIC AND INDIAN ART | 89 129

128 A STUDY FOR A SILVER REPOUSSE MIRROR, FROM THE WORKSHOP OF OOMERSI MAWJI BHUJ, KUTCH, LATE 19TH CENTURY pencil 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.

129 A STUDY FOR A SWEET DISH, FROM THE WORKSHOP OF OOMERSI MAWJI BHUJ, KUTCH, LATE 19TH CENTURY pencil 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.

128

90 | BONHAMS 130 131

130 131 A KUTCH REPOUSSÉ SILVER CLARET JUG A SILVER TROPHY CUP AND COVER BY P. ORR AND SONS GUJARAT, LATE 19TH CENTURY INDIA, DATED 1899 of bulbous form on a splayed circular foot with flaring neck, tapering the cup of deep circular form, with two scrolling handles bearing floral pouring spout and hinged lid with raised floral finial, curved handle and foliate motifs, raised on a circular domed foot with fluted band, composed of two intertwined serpents with alternating patterns of with repoussé decoration to body comprising a frieze of elongated scales and scrolling floral vines, body profusely chased and embossed leaves around the base, a band comprising a scrolling vine to centre, with dense scrolling foliage, similar scrolling decoration to neck and a border of scrolling floral and foliate motifs to neck, inscribed lid, base with hunting scenes depicting quadrupeds amidst scrolling with ‘INTER REGIMENTAL CHALLENGE CUP’ and in a central foliage and a border of acanthus leaves circular medallion ‘Peshawar Rifle Meeting 1899 Won By 1st Dorset 34.4 cm. high; 1254 g. Regiment’, the separate cover of tapering form with compressed globular handle surmounted by a pair of crossed rifles, the base £2,000 - 3,000 bearing maker’s mark ‘P. Orr & Sons/ Madras’ €2,700 - 4,100 33 cm. high including cover; 1104g. US$3,100 - 4,600 £2,500 - 3,500 €3,400 - 4,800 US$3,900 - 5,400

ISLAMIC AND INDIAN ART | 91 132 A REPOUSSÉ SILVER-GILT FIGURE OF A FEMALE ATTENDANT NORTH INDIA, 19TH CENTURY standing 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

133 LENGTH OF ROYAL JAMDANI MUSLIN WITH APPLIED GOLD DECORATION DHAKA, CIRCA 1910 cotton, 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, 132 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.

133 (detail) 133

92 | BONHAMS 134

134 A COMPANY SCHOOL TERRACOTTA OXEN AND CART WITH FOUR FIGURES KRISHNANAGAR, BENGAL, 19TH CENTURY with 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).

135 A LARGE CHINESE PORCELAIN BOWL AND DISH FOR THE INDIAN MARKET CHINA, 19TH CENTURY the 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 - 3,000 135 €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.

ISLAMIC AND INDIAN ART | 93 94 | BONHAMS W 136 A MAGNIFICENT PAIR OF CUT AND OVERLAID RUBY GLASS CHANDELIERS FOR THE INDIAN MARKET BOHEMIA, CIRCA 1900 comprising 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.

ISLAMIC AND INDIAN ART | 95 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 137 A RARE IVORY CHAUPAR ‘BIRD’ SET GOLCONDA, 18TH CENTURY the 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

137 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.

138

138 A SILVER CHAUPAR SET NATHADWARA, EARLY 19TH CENTURY the 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 - 5,400 138 Provenance Private European collection.

98 | BONHAMS Y Ф 139 139 AN IVORY CHAUPAR SET INDIA, 19TH CENTURY the 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 - 4,600 139 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.

140

140 A GLASS KANEBIS CHAUPAR SET GUJARAT, LATE 19TH CENTURY the 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 - 2,300 140

Provenance Private European collection.

ISLAMIC AND INDIAN ART | 99 141

Y Ф 141 AN IVORY CHAUPAR SET UDAIPUR, LATE 19TH CENTURY the 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) 141 £1,800 - 2,200 €2,500 - 3,000 US$2,800 - 3,400

Provenance Private European collection.

142

Y Ф 142 AN IVORY CHAUPAR SET UDAIPUR, LATE 19TH CENTURY the 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 edr 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 - 2,000 142 €2,100 - 2,700 US$2,300 - 3,100

Provenance Private European collection.

100 | BONHAMS 143 A BELGIAN EXPORT GLASS CHAUPAR SET BELGIUM, CIRCA 1900 the 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) 143 £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. 143 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 144 A RARE GOTA WORK CHAUPAR BOARD 142 MANDVI, CIRCA 1910 the 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 - 3,500 144 €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 Palace Hotel, Bombay. The firm soon became popular with India’s best families and Hollywood film stars of the day.

ISLAMIC AND INDIAN ART | 101 145 145 A SILVER CHAUPAR SET RADHANPUR, 20TH CENTURY the 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 - 3,100 145 Provenance Private European collection.

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

146

Y Ф 146 A PAINTED WOOD AND IVORY-MOUNTED CHAUPAR SET GUJARAT, EARLY 20TH CENTURY the 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 - 2,100 146 US$1,500 - 2,300

Provenance Private European collection.

102 | BONHAMS 147 A GEM-SET GOLD MARRIAGE PENDANT (TALI KUCHCHI) TAMIL NADU, SOUTH INDIA, 19TH CENTURY of 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

Provenance Private European collection.

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.

≈ 148 147 A GROUP OF FOUR GOLD PENDANTS TAMIL NADU AND RAJASTHAN, LATE 19TH/ EARLY 20TH CENTURY three 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

Provenance Private European collection.

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 148 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).

ISLAMIC AND INDIAN ART | 103 149 (detail)

OTHER PROPERTIES

149 A REPOUSSÉ GOLD COIN NECKLACE (KASUMALAI) SOUTH INDIA, PROBABLY TAMIL NADU, LATE 19TH CENTURY composed 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. 149 £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 CENTURY fabricated from gold sheet with repoussé and chased decoration, the makara head terminals with ruby-set eyes holding between their open mouths a spherical element depicting a kirtimukha on both sides, with gem-set screw to top, the hinged band composed of further graduated makara heads 7.7 cm. outer diam., 5.5 cm. inner diam.; 66.2 g.

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

150 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)).

104 | BONHAMS 151 AN 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

ISLAMIC AND INDIAN ART | 105 Y ≈ 152 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 152 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

153

106 | BONHAMS 154

154 A 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

155 A 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

155

ISLAMIC AND INDIAN ART | 107 156 GUJARI RAGINI: A MAIDEN PLAYING A VINA IN THE GROUNDS OF A PALACE, ACCOMPANIED BY A FEMALE ATTENDANT WITH A FLYWHISK MALWA, CIRCA 1680 gouache on paper, yellow panel at top, orange border, reverse with stamp Raja of Raghogarh/ 306 x 210 mm.

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

157 MALKOS RAGA: A PRINCE SEATED IN A PAVILION WITH FEMALE MUSICIANS AND ATTENDANTS DATIA, MADHYA PRADESH, CIRCA 1725 gouache and gold on paper, yellow panel at top with eight lines of text 156 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.

158 AN ILLUSTRATION TO A PANCHAKHYANA SERIES: A KING IN DISCUSSION WITH HIS COURTIERS WITHIN AND AROUND PAVILIONS MEWAR, CIRCA 1700 gouache and gold on paper, yellow panel at top with two lines of text in nagari script, red border 157 257 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).

158

108 | BONHAMS 159

159 MAHARANA* ARI SINGH (REG. 1761-73) SEATED ON A TERRACE WITH A COURTESAN AND FEMALE ATTENDANTS MEWAR, CIRCA 1761 gouache and gold on paper, red border (partially trimmed) 325 x 203 mm. 160

£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).

160 THAKUR GOPINATH RATHORE ON HORSEBACK WITH TWO ATTENDANTS ON FOOT ALONGSIDE GHANERAO, MARWAR, CIRCA 1720 gouache 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

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

£4,000 - 6,000 161 €5,500 - 8,200 US$6,200 - 9,300

ISLAMIC AND INDIAN ART | 109 162 A GROUP* OF SEVEN FOLIOS FROM A RAGAMALA SERIES AMBER, EARLY 18TH CENTURY gouache 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 163 A RULER SEATED WITH NOBLEMEN ON AN ORNATE FLORAL CARPET ON A TERRACE, AFRICAN ATTENDANTS IN THE BACKGROUND NORTH DECCAN, HYDERABAD, CIRCA 1720 gouache 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 163 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.

164 ASAVARI 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 1760-1770 gouache 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

165 164 NAWAB ZAHID KHAN SEATED ON A TERRACE WITH AN ATTENDANT NORTH INDIA, CIRCA 1740-45 gouache 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 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.

165

ISLAMIC AND INDIAN ART | 111 168

166 A NAWAB SEATED ON A TERRACE, HIS SWORD, SHIELD AND DAGGER BESIDE HIM 166 PROVINCIAL MUGHAL, LATE 18TH CENTURY gouache 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

167 MALKOS RAGA: A PRINCE LEADING HIS MISTRESS TO A PAVILION ON A RIVERSIDE TERRACE, TWO FEMALE ATTENDANTS STANDING BY PROVINCIAL MUGHAL, NORTH INDIA, LATE 18TH CENTURY gouache 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

168 A YOUNG NOBLEMAN ON A TERRACE WITH FEMALE ATTENDANTS DELHI, EARLY 19TH CENTURY gouache 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 167 subject is Prince Daniyal, the brother of the Emperor Jahangir (1572- 1604).

112 | BONHAMS 169 A PRINCESS WITH FEMALE MUSICIANS AND ATTENDANTS ON A RIVERSIDE TERRACE AT NIGHT LUCKNOW, C. 1760-1780 gouache 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 169 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.

169 (verso)

ISLAMIC AND INDIAN ART | 113 170 RADHA AND KRISHNA IN A LANDSCAPE WITH A COWHERD, A STORM IN THE SKY BEYOND JAIPUR, CIRCA 1780 gouache 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

Provenance Private UK collection.

171 TWO ILLUSTRATED LEAVES FROM A DISPERSED MANUSCRIPT OF FIRDAUSI’S SHAHNAMA, DEPICTING HUNTING SCENES, WITH LATER BORDERS MUGHAL, CIRCA 1630, THE BORDERS PROBABLY DELHI, CIRCA 1800 Persian manuscript on paper, two leaves with illustrations in gouache 170 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.

171

114 | BONHAMS W 172 A LARGE PAINTING DEPICTING THE WORK ON THE TOP OF THE CENOTAPH OF MUMTAZ MAHAL AT THE TAJ MAHAL, AGRA COMPANY SCHOOL, AGRA, CIRCA 1820-30 watercolour 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.

172

ISLAMIC AND INDIAN ART | 115 173 AN EASTERN GOSHAWK, BY BHAWANI DAS, FROM THE COLLECTION OF LADY IMPEY COMPANY SCHOOL, CALCUTTA, CIRCA 1780 pencil, 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

174 A LARGE BOTANICAL STUDY OF CUPRESSUS LUSITANICA COMPANY SCHOOL, PROBABLY CALCUTTA, CIRCA 1848 pen 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.

175 AN IMAGE OF THE FAMILY OF SIVA CARRIED IN PROCESSION SOUTH INDIA, PERHAPS PONDICHERRY, MID-19TH CENTURY watercolour 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

174 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.

175

118 | BONHAMS 176

176 AN IMPRESSIVE PAINTING ON CLOTH DEPICTING A TIGER Provenance RAJASTHAN, PROBABLY UDAIPUR, CIRCA 1900-1920 European private collection: acquired from Malcolm Fraser, Olympia, gouache on cloth, inscriptions in nagari script at upper right and lower 1993. centre, backed 186 x 299 cm. 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 £7,000 - 9,000 €9,600 - 12,000 This near life-size painting depicts an animal killed during a hunt. Such US$11,000 - 14,000 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.

ISLAMIC AND INDIAN ART | 119 177 MAHARANA SARUP SINGH (REG. 1842-61) HUNTING BOAR ON HORSEBACK WITH ATTENDANTS UDAIPUR, CIRCA 1855-60 gouache 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.

177

178 A RULER ON HORSEBACK HUNTING BOAR UDAIPUR, CIRCA 1860 gouache 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.

178

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

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

179

180 RADHA AND KRISHNA WITH FEMALE MUSICIANS AND ATTENDANTS JAIPUR OR ALWAR, CIRCA 1800 gouache 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

180

ISLAMIC AND INDIAN ART | 121 181 MAHARAJAH 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 1810-1815 gouache 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; 181 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.

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

122 | BONHAMS 183

183 A 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 CENTURY gouache, 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.

ISLAMIC AND INDIAN ART | 123 184

185

184 185 A RAJA OF BANDRALTA, PROBABLY INDRA DEV, SEATED A FOLIO FROM THE DEVI MAHATMYA, PART OF THE WITH A HAWK, SMOKING A HOOKAH, AN ATTENDANT WITH A MARKANDEYA PURANA: VISHNU SLEEPING ON THE SEA- FLYWHISK STANDING BEHIND HIM SERPENT ON THE FACE OF THE WATERS, BRAHMA SEATED BANDRALTA, CIRCA 1750 ON THE LOTUS RISING FROM HIS NAVEL, THE DEMONS gouache on paper, fragmentary red border, laid down on a separate MADHU AND KAITABHA ABOUT TO ATTACK sheet PAHARI, PROBABLY BASOHLI, EARLY 19TH CENTURY 230 x 335 mm. gouache 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 £5,000 - 7,000 yellow and red borders, stamp of the Royal Library of Mandi €6,800 - 9,600 262 x 365 mm. US$7,700 - 11,000 £4,000 - 6,000 Indra Dev, who ruled circa 1730 to circa 1760, is perhaps the most €5,500 - 8,200 frequently portrayed of the rulers of the small state of Bandralta, just US$6,200 - 9,300 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 The scene depicts the moment when the two demons Madhu and 5. No. 4 appears to feature the same distinctively-featured attendant. Kaitabha, born of the ‘impurities of Vishnu’s ears’, begin to threaten For a portrait of similar composition depicting an earlier ruler of Brahma. Brahma persuades the spirit of the eternal sleep which grips Bandralta, Kailashpat Dev, circa 1730, see Sam Fogg, Indian Paintings Vishnu to leave him and so defend against the demons: however, and Manuscripts, Catalogue 21, London 1999, p. 83, no. 52. 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.

124 | BONHAMS 186 187

186 187 * VIHAGADA RAGAPUTRA: A PRINCE SEATED AGAINST A RADHA AND KRISHNA AT A BALCONY WINDOW BOLSTER ON A TERRACE WITH A MAIDEN, AND A FEMALE KANGRA, EARLY 19TH CENTURY ATTENDANT WITH A FLYWHISK gouache and gold on paper, pink border BILASPUR, SECOND QUARTER OF THE 18TH CENTURY 218 x 178 mm. gouache and gold on paper, red-orange border 246 x 183 mm. £2,000 - 3,000 €2,700 - 4,100 £2,500 - 3,500 US$3,100 - 4,600 €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.

ISLAMIC AND INDIAN ART | 125 188 A SCENE FROM THE DEVI MAHATMYA: INDRA, SEATED ON AIRAVATA, WATCHES THE DEMON ARMY, LED BY SUMBHA AND NISUMBHA, KILLING THE GODS KANGRA, CIRCA 1830 gouache 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).

188

189 A 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 CENTURY gouache 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.

189 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.

126 | BONHAMS 190 THREE 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 CENTURY pen 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

ISLAMIC AND INDIAN ART | 127 191 A COLLECTION OF THIRTY-ONE DRAWINGS, DEPICTING The subjects of the drawings are as follows: SUBJECTS FROM HINDU MYTHOLOGY, COURT AND BATTLE SCENES, AND STUDIES OF ANIMALS 1. Shiva as Vishwarupa (the cosmic form), 141 x 234 mm. PAHARI, EARLY 19TH CENTURY 2. Radha and Krishna at a balcony window (with notes regarding thirty-one drawings on twenty-eight sheets, pen and ink on paper, colour), 232 x 154 mm. several with use of gouache, some with inscriptions in nagari and takri 3. The goddess Durga, along with a manifestation of her as Kali, in script, now in separate folders in modern archival box, together with combat with demons, verso a variation of the same subject, 153 x the original half-leather album in which the drawings were mounted, 245 mm. some leaves with captions, later label reading from Percival Chater 4. Mahabali with the dwarf avatar of Vishnu (vamana avatar), 203 x Manuk Collection, drawings/sketches, Indian Life & Mythology, 18th 145 mm. Century 5. A maiden playing a vina before a holy man, 130 x 185 mm. the largest 245 x 178 mm.; the smallest 87 x 95 mm.; album 280 x 6. A maiden with a hound, 195 x 140 mm. 225 mm.(29) 7. A study of elephants, 87 x 95 mm. 8. A prince seated on a charpoy with attendants, 63 x 157 mm. £12,000 - 15,000 9. A study of oxen, 128 x 95 mm. €16,000 - 21,000 10. Krishna as a child with the ogress Putana, 93 x 127 mm. US$19,000 - 23,000 11. A study of two ducks, 160 x 125 mm. 12. Siva and Parvati on Mount Kailasa with gods led by Brahma, 187 Provenance x 228 mm. Formerly in the collection of Percival Chater Manuk (1873-1946).

Percival Chater Manuk was a high court judge in Patna, and was an 13. A seated prince, 155 x 93 mm. early collector of Indian miniatures. He encountered W. G. Archer 14. A seated prince smoking a hookah, 205 x 156 mm. (who was stationed in Bihar) when the latter was posted to Patna 15. Shiva, as Tripurantaka, seated in a horse-drawn chariot with the in 1940, along with other connoisseurs of such as sun and moon as wheels, Brahma as his charioteer, 156 x 217 mm. Rai Krishna Dasa and Gopi Krishna Kanoria, and this seems to 16. Three maidens in discussion, 147 x 133 mm. have been the starting point for both W. G. and Mildred Archer’s 17. A nobleman before a shrine to Vishnu and Lakshmi, 180 x 130 interest in the subject. Chater Manuk bequeathed, in his own name mm. and that of Miss G M Coles, approximately fourteen hundred works 18. Durga in aerial combat with Mahishasura and other demons; (including European and Oriental pictures, miniatures, manuscripts, verso two portrait studies of a prince, 200 x 217 mm. enamels, Georgian and Indian silver objects, Chinese porcelain, 19. Nanda with Krishna and Balarama as children, 148 x 203 mm. glass and carpets) through the National Art Collections Fund to the 20. A devotee before Panchamukha Siva and Parvati, 135 x 213 mm. British Museum, Victoria & Albert Museum, the Fitzwilliam Museum in 21. Lovers making a moonlit escape from a palace, 190 x 130 mm. Cambridge and Bristol Art Gallery. 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.

128 | BONHAMS 191 (part lot)

ISLAMIC AND INDIAN ART | 129 192 • A HINDU DEVOTIONAL MANUSCRIPT, WITH 55 ILLUSTRATIONS KASHMIR, CIRCA 1860 Sanskrit 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.

130 | BONHAMS 192

ISLAMIC AND INDIAN ART | 131 193 MAHADEV VISWANATH DHURANDHAR (INDIAN, 1867-1944) TWO PORTRAITS: THE ARTIST’S FATHER, A PRABHU PATHARE MARATHA, AND GANGUBAI, THE ARTIST’S SECOND WIFE the 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).

193

132 | BONHAMS 194 MAHADEV VISWANATH DHURANDHAR (INDIAN, 1867-1944) BUND AT POONA pencil 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

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We may change the printed in bold letters, represents Bonhams’ opinion (given on right at our sole discretion to refuse admission to our premises Bidding by telephone If you wish to bid at the Sale by telephone, please complete a terms of either or both of these agreements in advance of It is of critical importance that you ensure that you have readily In its role as Auctioneer of Lots, Bonhams acts solely for behalf of the Seller) about the Lot only and is not part of the or to any Sale without stating a reason. We have complete Telephone Bidding Form, which is available from our offices or their being entered into, by setting out different terms in the available funds to pay the Purchase Price and the Buyer’s and in the interests of the Seller. Bonhams’ job is to sell the Contractual Description in accordance with which the Lot is discretion as to whether the Sale proceeds, whether any in the Catalogue. Please then return it to the office responsible Catalogue and/or by placing an insert in the Catalogue and/ Premium (plus VAT and any other charges and Expenses to us) Lot at the highest price obtainable at the Sale to a Bidder. sold by the Seller. Lot is included in the Sale, the manner in which the Sale is for the Sale at least 24 hours in advance of the Sale. It is or by notices at the Sale venue and/or by oral announcements in full before making a bid for the Lot. If you are a successful Bonhams does not act for Buyers or Bidders in this role and conducted and we may offer Lots for Sale in any order we your responsibility to check with our Bids Office that your before and during the Sale. You should be alert to this Bidder, payment will be due to us by 4.30 pm on the second does not give advice to Buyers or Bidders. When it or its choose notwithstanding the numbers given to Lots in the Estimates bid has been received. Telephone calls will be recorded. The possibility of changes and ask if there have been any. working day after the Sale so that all sums are cleared by staff make statements about a Lot or, if Bonhams provides In most cases, an Estimate is printed beside the Entry. Catalogue. You should therefore check the date and starting telephone bidding facility is a discretionary service and may not the eighth working day after the Sale. Unless agreed by us in a Condition Report on a Lot it is doing that on behalf of the Estimates are only an expression of Bonhams’ opinion made time of the Sale, whether there have been any withdrawals be available in relation to all Lots. We will not be responsible 7. BUYER’S PREMIUM AND OTHER CHARGES advance payments made by anyone other than the registered Seller of the Lot. Bidders and Buyers who are themselves on behalf of the Seller of the range where Bonhams thinks the or late entries. Remember that withdrawals and late entries for bidding on your behalf if you are unavailable at the time of PAYABLE BY THE BUYER Buyer will not be accepted. Payment will have to be by one of not expert in the Lots are strongly advised to seek and obtain Hammer Price for the Lot is likely to fall; it is not an Estimate may affect the time at which a Lot you are interested in is put the Sale or if the telephone connection is interrupted during the following methods (all cheques should be made payable to independent advice on the Lots and their value before bidding of value. It does not take into account any VAT or Buyer’s up for Sale. We have complete discretion to refuse any bid, bidding. Please contact us for further details. Under the Buyer’s Agreement, a premium (the Buyer’s Bonhams 1793 Limited). Bonhams reserves the right to vary for them. The Seller has authorised Bonhams to sell the Lot Premium payable. Lots can in fact sell for Hammer Prices to nominate any bidding increment we consider appropriate, Premium) is payable to us by the Buyer in accordance with the the terms of payment at any time. as its agent on its behalf and, save where we expressly make below and above the Estimate. Any Estimate should not be to divide any Lot, to combine two or more Lots, to withdraw terms of the Buyer’s Agreement and at rates set out below, it clear to the contrary, Bonhams acts only as agent for the relied on as an indication of the actual selling price or value of a any Lot from a Sale and, before the Sale has been closed, Bidding by post or fax Absentee Bidding Forms can be found in the back of this calculated by reference to the Hammer Price and payable in Sterling personal cheque drawn on a UK branch of a bank or Seller. Any statement or representation we make in respect Lot. Estimates are in the currency of the Sale. to put up any Lot for auction again. Auction speeds can Catalogue and should be completed and sent to the office addition to it. Storage charges and Expenses are also payable building society: all cheques must be cleared before you can of a Lot is made on the Seller’s behalf and, unless Bonhams exceed 100 Lots to the hour and bidding increments are responsible for the Sale. It is in your interests to return your by the Buyer as set out in the Buyer’s Agreement. All the sums collect your purchases; sells a Lot as principal, not on our behalf and any Contract for generally about 10%. However these do vary from Sale to Condition Reports form as soon as possible, as if two or more Bidders submit payable to us by the Buyer are subject to VAT. For this Sale the Sale is between the Buyer and the Seller and not with us. If In respect of most Lots, you may ask for a Condition Report Sale and from Auctioneer to Auctioneer. Please check with identical bids for a Lot, the first bid received takes preference. following rates of Buyer’s Premium will be payable by Buyers Cash: you may pay for Lots purchased by you at this Sale Bonhams sells a Lot as principal this will either be stated in the on its physical condition from Bonhams. If you do so, this will the department organising the Sale for advice on this. Where In any event, all bids should be received at least 24 hours of Lots: with notes, coins or travellers cheques in the currency in which Catalogue or an announcement to that effect will be made by be provided by Bonhams on behalf of the Seller free of charge. a Reserve has been applied to a Lot, the Auctioneer may, before the start of the Sale. Please check your Absentee the Sale is conducted (but not any other currency) provided the Auctioneer, or it will be stated in a notice at the Sale or an Bonhams is not entering into a contract with you in respect in his absolute discretion, place bids (up to an amount not 25% up to £50,000 of the Hammer Price Bidding Form carefully before returning it to us, fully completed that the total amount payable by you in respect of all Lots insert in the Catalogue. of the Condition Report and accordingly does not assume equalling or exceeding such Reserve) on behalf of the Seller. 20% from £50,001 to £1,000,000 of the Hammer Price and signed by you. It is your responsibility to check with our purchased by you at the Sale does not exceed £3,000, or responsibility to you in respect of it. Nor does the Seller owe or We are not responsible to you in respect of the presence or 12% from £1,000,001 of the Hammer Price Bids Office that your bid has been received. This additional the equivalent in the currency in which the Sale is conducted, Bonhams does not owe or undertake or agree to any duty agree to owe you as a Bidder any obligation or duty in respect absence of any Reserve in respect of any Lot. If there is a service is complimentary and is confidential. Such bids are at the time when payment is made. If the amount payable or responsibility to you in contract or tort (whether direct, of this free report about a Lot, which is available for your own Reserve it will normally be no higher than the lower figure for On certain Lots, which will be marked “AR” in the Catalogue made at your own risk and we cannot accept liability for our by you for Lots exceeds that sum, the balance must be paid collateral, express, implied or otherwise). If you successfully bid inspection or for inspection by an expert instructed by you. any Estimate in the Catalogue, assuming that the currency of and which are sold for a Hammer Price of €1,000 or greater failure to receive and/or place any such bids. All bids made otherwise than in coins, notes or travellers cheques; for a Lot and buy it, at that stage Bonhams does enter into an However, any written Description of the physical condition of the Reserve has not fluctuated adversely against the currency (converted into the currency of the Sale using the European on your behalf will be made at the lowest level possible agreement with the Buyer. The terms of that contract are set the Lot contained in a Condition Report will form part of the of the Estimate. The Buyer will be the Bidder who makes the Central Bank Reference rate prevailing on the date of the Sale), subject to Reserves and other bids made for the Lot. Where Bank transfer: you may electronically transfer funds to our out in our Buyer’s Agreement, which you will find at Appendix Contractual Description of the Lot under which it is sold to highest bid acceptable to the Auctioneer for any Lot (subject the Additional Premium will be payable to us by the Buyer to appropriate your bids will be rounded down to the nearest Trust Account. If you do so, please quote your paddle number 2 at the back of the Catalogue. This will govern Bonhams’ any Buyer. to any applicable Reserve) to whom the Lot is knocked down cover our Expenses relating to the payment of royalties under amount consistent with the Auctioneer’s bidding increments. and invoice number as the reference. Our Trust Account details relationship with the Buyer. by the Auctioneer at the fall of the Auctioneer’s hammer. Any the Artists Resale Right Regulations 2006. The Additional New Bidders must also provide proof of identity and address are as follows: dispute as to the highest acceptable bid will be settled by the Premium will be a percentage of the amount of the Hammer The Seller’s responsibility to you when submitting bids. Failure to do this will result in your bid The Seller does not make or agree to make any representation Auctioneer in his absolute discretion. All bids tendered will Price calculated in accordance with the table below, and shall Bank: National Westminster Bank Plc 2. LOTS not being placed. of fact or contractual promise, Guarantee or warranty and relate to the actual Lot number announced by the Auctioneer. not exceed €12,500 (converted into the currency of the Sale Address: PO Box 4RY Subject to the Contractual Description printed in bold letters undertakes no obligation or duty, whether in contract or in An electronic currency converter may be used at the Sale. This using the European Central Bank Reference rate prevailing on 250 Regent Street in the Entry about the Lot in the Catalogue (see paragraph 3 tort (other than to the eventual Buyer as set out above), in equipment is provided as a general guide as to the equivalent Bidding via the internet the date of the Sale). London W1A 4RY Please visit our Website at http://www.bonhams.com for below), Lots are sold to the Buyer on an “as is” basis, with respect of the accuracy or completeness of any statement amount in certain currencies of a given bid. We do not accept Account Name: Bonhams 1793 Limited Trust Account details of how to bid via the internet. Hammer Price Percentage amount all faults and imperfections. Illustrations and photographs or representation made by him or on his behalf, which is in any responsibility for any errors which may occur in the use of Account Number: 25563009 From €0 to €50,000 4% contained in the Catalogue (other than photographs forming any way descriptive of any Lot or as to the anticipated or the currency converter. We may use video cameras to record Sort Code: 56-00-27 From €50,000.01 to €200,000 3% part of the Contractual Description) or elsewhere of any Lots likely selling price of any Lot. Other than as set out above, no the Sale and may record telephone calls for reasons of security Bidding through an agent IBAN Number: GB 33 NWBK 560027 25563009 Bids will be accepted as placed on behalf of the person named From €200,000.01 to €350,000 1% are for identification purposes only. They may not reveal the statement or representation in any way descriptive of a Lot and to assist in solving any disputes which may arise in relation as the principal on the Bidding Form although we may refuse From €350,000.01 to €500,000 0.5% true condition of the Lot. A photograph or illustration may not or any Estimate is incorporated into any Contract for Sale to bids made at the Sale. At some Sales, for example, jewellery If paying by bank transfer, the amount received after the to accept bids from an agent on behalf of a principal and Exceeding €500,000 0.25% reflect an accurate reproduction of the colour(s) of the Lot. between a Seller and a Buyer. Sales, we may use screens on which images of the Lots will be deduction of any bank fees and/or conversion of the currency will require written confirmation from the principal confirming Lots are available for inspection prior to the Sale and it is for projected. This service is provided to assist viewing at the Sale. of payment to pounds sterling must not be less than the the agent’s authority to bid. Nevertheless, as the Bidding 8. VAT you to satisfy yourself as to each and every aspect of a Lot, The image on the screen should be treated as an indication sterling amount payable, as set out on the invoice. Bonhams’ responsibility to you Form explains, any person placing a bid as agent on behalf including its authorship, attribution, condition, provenance, You have the opportunity of examining the Lot if you want to only of the current Lot. It should be noted that all bids tendered of another (whether or not he has disclosed that fact or the The prevailing rate of VAT at the time of going to press is 20%, history, background, authenticity, style, period, age, suitability, and the Contract for Sale for a Lot is with the Seller and not will relate to the actual Lot number announced by Debit cards: there is no additional charge for purchases made identity of his principal) will be jointly and severally liable with but this is subject to government change and the rate payable quality, roadworthiness (if relevant), origin, value and with Bonhams; Bonhams acts as the Seller’s agent only (unless the Auctioneer. We do not accept any responsibility for any with personal debit cards, issued by a UK bank. Debit cards the principal to the Seller and to Bonhams under any contract will be the rate in force on the date of the Sale. estimated selling price (including the Hammer Price). It is your Bonhams sells the Lot as principal). errors which may occur in the use of the screen. issued by an overseas bank, deferred and company debit resulting from the acceptance of a bid. Subject to the above, responsibility to examine any Lot in which you are interested. It cards and all credit cards will be subject to a 2% surcharge; please let us know if you are acting on behalf of another The following symbols are used to denote that VAT is due on should be remembered that the actual condition of a Lot may Bonhams undertakes no obligation to you to examine, 5. BIDDING person when bidding for Lots at the Sale. the Hammer Price and Buyer’s Premium: not be as good as that indicated by its outward appearance. investigate or carry out any tests, either in sufficient depth or at Visa and Mastercard only. Please note there is † VAT at the prevailing rate on Hammer Price and Buyer’s Credit cards: In particular, parts may have been replaced or renewed and all, on each Lot to establish the accuracy or otherwise of any We do not accept bids from any person who has not a 2% surcharge on the total invoice value when payments are Equally, please let us know if you intend to nominate another Premium Lots may not be authentic or of satisfactory quality; the inside Descriptions or opinions given by Bonhams, or by any person completed and delivered to us one of our Bidding Forms, made using credit cards. It may be advisable to notify your person to bid on your behalf at the Sale unless this is to be Ω VAT on imported items at the prevailing rate on Hammer of a Lot may not be visible and may not be original or may be on Bonhams’ behalf, whether in the Catalogue or elsewhere. either our Bidder Registration Form, Absentee Bidding Form or card provider of your intended purchase in advance to reduce carried out by us pursuant to a Telephone or Absentee Bidding Price and Buyer’s Premium damaged, as for example where it is covered by upholstery Telephone Bidding Form. You will be asked for proof of identity, delays caused by us having to seek authority when you come Form that you have completed. If we do not approve the * VAT on imported items at a preferential rate of 5% or material. Given the age of many Lots they may have been You should not suppose that such examinations, investigations residence and references, which, when asked for, you must to pay. If you have any questions with regard to payment, agency arrangements in writing before the Sale, we are entitled on Hammer Price and the prevailing rate on Buyer’s damaged and/or repaired and you should not assume that or tests have occurred. supply if your bids are to be accepted by us. Please bring please contact our Customer Services Department. to assume that the person bidding at the Sale is bidding on Premium a Lot is in good condition. Electronic or mechanical parts your passport, driving licence (or similar photographic proof of his own behalf. Accordingly, the person bidding at the Sale will may not operate or may not comply with current statutory Bonhams does not make or agree to make any representation identity) and proof of address. We may request a deposit from China UnionPay (CUP) debit cards: No surcharge for using be the Buyer and will be liable to pay the Hammer Price and requirements. You should not assume that electrical items of fact, and undertakes no obligation or duty (whether in you before allowing you to bid. We may refuse entry to a Sale CUP debit cards will apply on the first £100,000 invoiced Buyer’s Premium and associated charges. If we approve the designed to operate on mains electricity will be suitable for contract or tort) in respect of the accuracy or completeness to any person even if that person has completed a Bidding to a Buyer in any Sale; a 2% surcharge will be made on the identity of your client in advance, we will be in a position to connection to the mains electricity supply and you should of any statement or representation made by Bonhams or on Form. balance over £100,000. obtain a report from a qualified electrician on their status before Bonhams’ behalf which is in any way descriptive of any Lot

NTB/MAIN/06.15 NTB/MAIN/06.15 10. COLLECTION AND STORAGE indirectly) our liability or excluding or restricting any person’s Original Gun Specifications Derived from rights or remedies in respect of (i) fraud, or (ii) death or Gunmakers The Buyer of a Lot will not be allowed to collect it until payment personal injury caused by our negligence (or by the negligence The Sporting Gun Department endeavours to confirm a gun’s in full and in cleared funds has been made (unless we have of any person under our control or for whom we are legally original specification and date of manufacture with makers who made a special arrangement with the Buyer). For collection and responsible), or (iii) acts or omissions for which we are liable hold their original records. removal of purchased Lots, please refer to Sale Information at under the Occupiers Liability Act 1957, or (iv) any other liability the front of the Catalogue. Our offices are open 9.00am – 5pm to the extent the same may not be excluded or restricted as Licensing Requirements Monday to Friday. Details relating to the collection of a Lot, the a matter of law or (v) our undertakings under paragraphs 9 (in Firearms Act 1968 as amended storage of a Lot and our Storage Contractor after the Sale are relation to specialist Stamp or Book Sales only) and 10 of the Bonhams is constantly reviewing its procedures and would set out in the Catalogue. Buyer’s Agreement. The same applies in respect of the Seller, remind you that, in the case of firearms or shotguns subject to as if references to us in this paragraph were substituted with certification, to conform with current legislation, Bonhams is 11. SHIPPING references to the Seller. required to see, as appropriate, your original registered firearms dealer’s certificate / shot gun certificate / firearm certificate / Please refer all enquiries to our shipping department on: 15. BOOKS museum firearms licence / Section 5 authority or import licence Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 (or details of any exemption from which you may benefit, for Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject instance Crown servant status) for the firearm(s) you have to all faults, imperfections and errors of Description save as purchased prior to taking full payment of the amount shown 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book on your invoice. Should you not already be in possession of in the circumstances set out in paragraph 11 of the Buyers such an authority or exemption, you are required to initially It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, pay a deposit of 95% of the total invoice with the balance of import regulations relating to your purchases and also to unframed maps and bound manuscripts are not liable to VAT 5% payable on presentation of your valid certificate or licence obtain any relevant export and/or import licence(s). Export on the Buyer’s Premium. showing your authority to hold the firearm(s) concerned. licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. The 16. CLOCKS AND WATCHES Please be advised that if a successful Bidder is then unable detailed provisions of the export licencing arrangements can to produce the correct paperwork, the Lot(s) will be reoffered be found on the ACE website http://www.artscouncil.org.uk/ All Lots are sold “as is”, and the absence of any reference to by Bonhams in the next appropriate Sale, on standard terms what-we-do/supporting-museums/cultural-property/export- the condition of a clock or watch does not imply that the Lot is for Sellers, and you will be responsible for any loss incurred by controls/export-licensing/ or by phoning ACE on +44 (0)20 in good condition and without defects, repairs or restorations. Bonhams on the original Sale to you. 7973 5188. The need for import licences varies from country Most clocks and watches have been repaired in the course of to country and you should acquaint yourself with all relevant their normal lifetime and may now incorporate parts not original In the case of RFD certificates and Section 5 authorities, we local requirements and provisions. The refusal of any import or to them. Furthermore, Bonhams makes no representation or wish to keep an up-to-date copy on file. Please supply us with export licence(s) or warranty that any clock or watch is in working order. As clocks a Fax or photocopy. It would be helpful if you could send us an any delay in obtaining such licence(s) shall not permit the and watches often contain fine and complex mechanisms, updated copy whenever your certificate or authority is renewed rescission of any Sale nor allow any delay in making full Bidders should be aware that a general service, change of or changed. payment for the Lot. Generally, please contact our shipping battery or further repair work, for which the Buyer is solely department before the Sale if you require assistance in responsible, may be necessary. Bidders should be aware Lots marked ‘S1´ and bearing red labels are Section 1 firearms relation to export regulations. that the importation of watches such as Rolex, Frank Muller and require a valid British Firearms certificate, RFD Licence or and Corum into the United States is highly restricted. These import licence. 13. CITES REGULATIONS watches may not be shipped to the USA and can only be imported personally. Lots marked ‘S2’ and bearing blue labels are Section 2 Please be aware that all Lots marked with the symbol Y are firearms and require a valid British Shotgun certificate, RFD subject to CITES regulations when exporting these items 17. FIREARMS – PROOF, CONDITION AND licence or import licence. outside the EU. These regulations may be found at CERTIFICATION http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or Lots marked ‘S5´ and bearing specially marked red labels are may be requested from: Proof of Firearms Section 5 prohibited firearms and require a valid Section 5 The term “proof exemption” indicates that a firearm has been Authority or import licence. Animal Health and Veterinary Laboratories Agency (AHVLA) examined at a Proof House, but not proved, as either (a) it was Wildlife Licencing deemed of interest and not intended for use, or (b) ammunition Lots marked with a ‘S58´ and bearing yellow labels are for Floor 1, Zone 17, Temple Quay House was not available. In either case, the firearm must be regarded obsolete calibres and no licence is required unless ammunition 2 The Square, Temple Quay as unsafe to fire unless subsequently proved. Firearms is held. BRISTOL BS1 6EB proved for Black Powder should not be used with smokeless Tel: +44 (0) 117 372 8774 ammunition. Unmarked Lots require no licence.

14. THE SELLERS AND/OR BONHAMS’ LIABILITY The term “Certificate of Unprovability” indicates that a firearm Please do not hesitate to contact the Modern Sporting Gun has been examined at a Proof House and is deemed both Department should you have any queries. Other than any liability of the Seller to the Buyer of a Lot unsuitable for proof and use. Reproof is required before any under the Contract for Sale, neither we nor the Seller are such firearm is to be used. liable (whether in negligence or otherwise) for any error or Taxidermy and Related Items As a Seller of these articles, Bonhams undertakes to comply misdescription or omission in any Description of a Lot or any Guns Sold as Parts fully with Cites and DEFRA regulations. Buyers are advised to Estimate in respect of it, whether contained in the Catalogue or Barrels of guns sold as parts will only be made available for inform themselves of all such regulations and should expect otherwise, whether given orally or in writing and whether given sleeving and measurements once rendered unserviceable the exportation of items to take some time to arrange. before or during the Sale. Neither we nor the Seller will be according to the Gun Barrel Proof Act of 1968 to 1978 and the liable for any loss of Business, profits, revenue or income, or Rules of Proof. for loss of reputation, or for disruption to Business or wasted 18. FURNITURE time on the part of management or staff, or for indirect losses Condition of Firearms or consequential damages of any kind, irrespective in any Upholstered Furniture Comment in this Catalogue is restricted, in general, to Whilst we take every care in cataloguing furniture which has case of the nature, volume or source of the loss or damage exceptional condition and to those defects that might been upholstered we offer no Guarantee as to the originality alleged to be suffered, and irrespective of whether the said affect the immediate safety of a firearm in normal use. An of the wood covered by fabric or upholstery. loss or damage is caused by or claimed in respect of any intending Bidder unable to make technical examinations negligence, other tort, breach of contract (if any) or statutory and assessments is recommended to seek advice from a duty, restitutionary claim or otherwise. In any circumstances 19. JEWELLERY gunmaker or from a modern firearms specialist. All prospective where we and/or the Seller are liable in relation to any Lot or Bidders are advised to consult the ˚ of bore and wall-thickness Ruby and Jadeite any Description or Estimate made of any Lot, or the conduct Ruby ͌ and jadeite gemstones of Burmese (Myanmar) origin measurements posted in the saleroom and available from the of any Sale in relation to any Lot, whether in damages, for may not be imported into the US. Rubies and jadeite of department. Bidders should note that guns are stripped only an indemnity or contribution, or for a restitutionary remedy or non–Burmese origin require certification before import where there otherwise, our and/or the Seller’s liability (combined, if both into the US and it is the Buyer’s responsibility to obtain all is a strong indication of a mechanical malfunction. Stripping we and the Seller are liable) will be limited to payment of a sum relevant and required export/import licences, certificates is not, otherwise, undertaken. Guns intended for use should which will not exceed by way of maximum the amount of the and documentation before shipping. Failure by the Buyer to be stripped and cleaned beforehand. Hammer guns should Purchase Price of the Lot irrespective in any case of the nature, successfully import goods into the US does not constitute have their rebound mechanisms checked before use. The volume or source of any loss or damage alleged to be suffered grounds for non payment or cancellation of Sale. Bonhams safety mechanisms of all guns must be tested before use. or sum claimed as due, and irrespective of whether the liability will not be responsible for any additional costs in this regard All measurements are approximate. arises from any negligence, other tort, breach of contract (if howsoever incurred. any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or

NTB/MAIN/06.15 10. COLLECTION AND STORAGE indirectly) our liability or excluding or restricting any person’s Original Gun Specifications Derived from Gemstones 21. PICTURES It is not our policy to inspect every unopened case. In the case rights or remedies in respect of (i) fraud, or (ii) death or Gunmakers Historically many gemstones have been subjected to a variety of wines older than 20 years the boxes will usually have been The Buyer of a Lot will not be allowed to collect it until payment personal injury caused by our negligence (or by the negligence The Sporting Gun Department endeavours to confirm a gun’s of treatments to enhance their appearance. Sapphires and Explanation of Catalogue Terms opened and levels and appearance noted in the Catalogue The following terms used in the Catalogue have the following in full and in cleared funds has been made (unless we have of any person under our control or for whom we are legally original specification and date of manufacture with makers who rubies are routinely heat treated to improve their colour and where necessary. You should make proper allowance for meanings but are subject to the general provisions relating to made a special arrangement with the Buyer). For collection and responsible), or (iii) acts or omissions for which we are liable hold their original records. clarity, similarly emeralds are frequently treated with oils variations in ullage levels and conditions of corks, capsules Descriptions contained in the Contract for Sale: removal of purchased Lots, please refer to Sale Information at under the Occupiers Liability Act 1957, or (iv) any other liability or resin for the same purpose. Other treatments such as and labels. • “Jacopo Bassano”: in our opinion a work by the artist. the front of the Catalogue Our offices are open 9.00am – 5pm to the extent the same may not be excluded or restricted as staining, irradiation or coating may have been used on other . Licensing Requirements When the artist’s forename(s) is not known, a series of Monday to Friday. Details relating to the collection of a Lot, the a matter of law or (v) our undertakings under paragraphs 9 (in gemstones. These treatments may be permanent, whilst Corks and Ullages Firearms Act 1968 as amended asterisks, followed by the surname of the artist, whether storage of a Lot and our Storage Contractor after the Sale are relation to specialist Stamp or Book Sales only) and 10 of the Bonhams is constantly reviewing its procedures and would others may need special care or re-treatment over the years Ullage refers to the space between the base of the cork preceded by an initial or not, indicates that in our opinion set out in the Catalogue. Buyer’s Agreement. The same applies in respect of the Seller, remind you that, in the case of firearms or shotguns subject to to retain their appearance. Bidders should be aware that and the wine. Ullage levels for Bordeaux shaped bottles are the work is by the artist named; as if references to us in this paragraph were substituted with certification, to conform with current legislation, Bonhams is Estimates assume that gemstones may have been subjected only normally noted when below the neck and for Burgundy, • “Attributed to Jacopo Bassano”: in our opinion probably references to the Seller. required to see, as appropriate, your original registered firearms to such treatments. A number of laboratories issue certificates Alsace, German and Cognac shaped bottles when greater 11. SHIPPING a work by the artist but less certainty as to authorship is dealer’s certificate / shot gun certificate / firearm certificate / that give more detailed Descriptions of gemstones. However than 4 centimetres (cm). Acceptable ullage levels increase with expressed than in the preceding category; Please refer all enquiries to our shipping department on: 15. BOOKS museum firearms licence / Section 5 authority or import licence there may not be consensus between different laboratories on age; generally acceptable levels are as follows: • “Studio/Workshop of Jacopo Bassano”: in our opinion a Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 (or details of any exemption from which you may benefit, for the degrees, or types of treatment for any particular gemstone. work by an unknown hand in a studio of the artist which Under 15 years old – into neck or less than 4cm Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject instance Crown servant status) for the firearm(s) you have In the event that Bonhams has been given or has obtained may or may not have been executed under the artist’s 15 to 30 years old – top shoulder (ts) or up to 5cm to all faults, imperfections and errors of Description save as purchased prior to taking full payment of the amount shown certificates for any Lot in the Sale these certificates will be direction; Over 30 years old – high shoulder (hs) or up to 6cm set out below. However, you will be entitled to reject a Book on your invoice. Should you not already be in possession of disclosed in the Catalogue. Although, as a matter of policy, 12. EXPORT/TRADE RESTRICTIONS • “Circle of Jacopo Bassano”: in our opinion a work by in the circumstances set out in paragraph 11 of the Buyers such an authority or exemption, you are required to initially Bonhams endeavours to provide certificates from recognised a hand closely associated with a named artist but not It should be noted that ullages may change between It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, pay a deposit of 95% of the total invoice with the balance of laboratories for certain gemstones, it is not feasible to obtain necessarily his pupil; publication of the Catalogue and the Sale and that corks may import regulations relating to your purchases and also to unframed maps and bound manuscripts are not liable to VAT 5% payable on presentation of your valid certificate or licence certificates for each Lot. In the event that no certificate is • “Follower of Jacopo Bassano”: in our opinion a work by a fail as a result of transporting the wine. We will only accept obtain any relevant export and/or import licence(s). Export on the Buyer’s Premium. showing your authority to hold the firearm(s) concerned. published in the Catalogue, Bidders should assume that the painter working in the artist’s style, contemporary or nearly responsibility for Descriptions of condition at the time of licences are issued by Arts Council England and application gemstones may have been treated. Neither Bonhams nor contemporary, but not necessarily his pupil; publication of the Catalogue and cannot accept responsibility forms can be obtained from its Export Licensing Unit. The 16. CLOCKS AND WATCHES Please be advised that if a successful Bidder is then unable the Seller accepts any liability for contradictions or differing • “Manner of Jacopo Bassano”: in our opinion a work in the for any loss resulting from failure of corks either before or after detailed provisions of the export licencing arrangements can to produce the correct paperwork, the Lot(s) will be reoffered certificates obtained by Buyers on any Lots subsequent to style of the artist and of a later date; this point. be found on the ACE website http://www.artscouncil.org.uk/ All Lots are sold “as is”, and the absence of any reference to by Bonhams in the next appropriate Sale, on standard terms the Sale. • “After Jacopo Bassano”: in our opinion, a copy of a known what-we-do/supporting-museums/cultural-property/export- the condition of a clock or watch does not imply that the Lot is for Sellers, and you will be responsible for any loss incurred by work of the artist; Options to buy parcels controls/export-licensing/ or by phoning ACE on +44 (0)20 in good condition and without defects, repairs or restorations. Bonhams on the original Sale to you. Estimated Weights • “Signed and/or dated and/or inscribed”: in our opinion the A parcel is a number of Lots of identical size of the same wine, 7973 5188. The need for import licences varies from country Most clocks and watches have been repaired in the course of If a stone(s) weight appears within the body of the Description signature and/or date and/or inscription are from the hand bottle size and Description. The Buyer of any of these Lots has to country and you should acquaint yourself with all relevant their normal lifetime and may now incorporate parts not original In the case of RFD certificates and Section 5 authorities, we in capital letters, the stone(s) has been unmounted and of the artist; the option to accept some or all of the remaining Lots in the local requirements and provisions. The refusal of any import or to them. Furthermore, Bonhams makes no representation or wish to keep an up-to-date copy on file. Please supply us with weighed by Bonhams. If the weight of the stone(s) is stated • “Bears a signature and/or date and/or inscription”: in our parcel at the same price, although such options will be at the export licence(s) or warranty that any clock or watch is in working order. As clocks a Fax or photocopy. It would be helpful if you could send us an to be approximate and does not appear in capital letters, the opinion the signature and/or date and/or inscription have Auctioneer’s sole discretion. Absentee Bidders are, therefore, any delay in obtaining such licence(s) shall not permit the and watches often contain fine and complex mechanisms, updated copy whenever your certificate or authority is renewed stone(s) has been assessed by us within its/their settings, been added by another hand. advised to bid on the first Lot in a parcel. rescission of any Sale nor allow any delay in making full Bidders should be aware that a general service, change of or changed. and the stated weight is a statement of our opinion only. This payment for the Lot. Generally, please contact our shipping battery or further repair work, for which the Buyer is solely information is given as a guide and Bidders should satisfy Wines in Bond department before the Sale if you require assistance in responsible, may be necessary. Bidders should be aware Lots marked ‘S1´ and bearing red labels are Section 1 firearms themselves with regard to this information as to its accuracy. 22. PORCELAIN AND GLASS Wines lying in Bond are marked Δ and VAT is payable by the relation to export regulations. that the importation of watches such as Rolex, Frank Muller and require a valid British Firearms certificate, RFD Licence or purchaser, at the standard rate, on the Hammer Price, unless and Corum into the United States is highly restricted. These import licence. Damage and Restoration Signatures For your guidance, in our Catalogues we detail, as far as the wines are to remain under Bond. Buyers requiring their watches may not be shipped to the USA and can only be 13. CITES REGULATIONS 1. A diamond brooch, by Kutchinsky practicable, recorded all significant defects, cracks and wine to remain in Bond must notify Bonhams at the time of imported personally. Lots marked ‘S2’ and bearing blue labels are Section 2 When the maker’s name appears in the title, in Bonhams’ restoration. Such practicable Descriptions of damage cannot the Sale. The Buyer is then himself responsible for all duty, Please be aware that all Lots marked with the symbol Y are firearms and require a valid British Shotgun certificate, RFD opinion the piece is by that maker. be definitive, and in providing Condition Reports, we cannot clearance VAT and other charges that may be payable thereon. subject to CITES regulations when exporting these items 17. FIREARMS – PROOF, CONDITION AND licence or import licence. Guarantee that there are no other defects present which have All such Lots must be transferred or collected within two outside the EU. These regulations may be found at CERTIFICATION 2. A diamond brooch, signed Kutchinsky not been mentioned. Bidders should satisfy themselves by weeks of the Sale. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or Lots marked ‘S5´ and bearing specially marked red labels are Has a signature that, in Bonhams’ opinion, is authentic but inspection, as to the condition of each Lot. Please see the may be requested from: Proof of Firearms Section 5 prohibited firearms and require a valid Section 5 may contain gemstones that are not original, or the piece may Contract for Sale printed in this Catalogue. Because of the Buyers outside the UK must be aware that any forwarding The term “proof exemption” indicates that a firearm has been Authority or import licence. have been altered. Animal Health and Veterinary Laboratories Agency (AHVLA) difficulty in determining whether an item of glass has been agent appointed to export their purchases must have a examined at a Proof House, but not proved, as either (a) it was Wildlife Licencing repolished, in our Catalogues reference is only made to visible movement certificate for Lots to be released under Bond. deemed of interest and not intended for use, or (b) ammunition Lots marked with a ‘S58´ and bearing yellow labels are for Floor 1, Zone 17, Temple Quay House 3. A diamond brooch, mounted by Kutchinsky chips and cracks. No mention is made of repolishing, severe was not available. In either case, the firearm must be regarded obsolete calibres and no licence is required unless ammunition Has been created by the jeweller, in Bonhams’ opinion, but 2 The Square, Temple Quay or otherwise. Bottling Details and Case Terms as unsafe to fire unless subsequently proved. Firearms is held. using stones or designs supplied by the client. BRISTOL BS1 6EB The following terms used in the Catalogue have the following proved for Black Powder should not be used with smokeless Tel: +44 (0) 117 372 8774 meanings: ammunition. Unmarked Lots require no licence. 23. VEHICLES 20. PHOTOGRAPHS CB – Château bottled DB – Domaine bottled 14. THE SELLERS AND/OR BONHAMS’ LIABILITY The term “Certificate of Unprovability” indicates that a firearm Please do not hesitate to contact the Modern Sporting Gun Explanation of Catalogue Terms The Veteran Car Club of Great Britain • “Bill Brandt”: in our opinion a work by the artist. EstB – Estate bottled has been examined at a Proof House and is deemed both Department should you have any queries. Other than any liability of the Seller to the Buyer of a Lot • “Attributed to Bill Brandt”: in our opinion probably a work by BB – Bordeaux bottled unsuitable for proof and use. Reproof is required before any Dating Plates and Certificates under the Contract for Sale, neither we nor the Seller are the artist, but less certainty to authorship is expressed than When mention is made of a Veteran Car Club Dating Plate or BE – Belgian bottled such firearm is to be used. liable (whether in negligence or otherwise) for any error or Taxidermy and Related Items in the preceding category. Dating Certificate in this Catalogue, it should be borne in mind FB – French bottled As a Seller of these articles, Bonhams undertakes to comply misdescription or omission in any Description of a Lot or any • “Signed and/or titled and/or dated and/or inscribed”: in that the Veteran Car Club of Great Britain using the services of GB – German bottled Guns Sold as Parts fully with Cites and DEFRA regulations. Buyers are advised to Estimate in respect of it, whether contained in the Catalogue or our opinion the signature and/or title and/or date and/or Veteran Car Company Ltd, does from time to time, review cars OB – Oporto bottled Barrels of guns sold as parts will only be made available for inform themselves of all such regulations and should expect otherwise, whether given orally or in writing and whether given inscription are in the artist’s hand. already dated and, in some instances, where fresh evidence UK – United Kingdom bottled sleeving and measurements once rendered unserviceable the exportation of items to take some time to arrange. before or during the Sale. Neither we nor the Seller will be • “Signed and/or titled and/or dated and/or inscribed in becomes available, the review can result in an alteration of owc – original wooden case according to the Gun Barrel Proof Act of 1968 to 1978 and the liable for any loss of Business, profits, revenue or income, or another hand”: in our opinion the signature and/or title and/ date. Whilst the Club and Veteran Car Company Ltd make iwc – individual wooden case Rules of Proof. for loss of reputation, or for disruption to Business or wasted 18. FURNITURE or date and/or inscription have been added by every effort to ensure accuracy, the date shown on the Dating oc – original carton time on the part of management or staff, or for indirect losses another hand. Plate or Dating Certificate cannot be guaranteed as correct and Condition of Firearms or consequential damages of any kind, irrespective in any Upholstered Furniture • The date given is that of the image (negative). Where no intending purchasers should make their own enquiries as to the Comment in this Catalogue is restricted, in general, to Whilst we take every care in cataloguing furniture which has case of the nature, volume or source of the loss or damage further date is given, this indicates that the photographic date of the car. exceptional condition and to those defects that might been upholstered we offer no Guarantee as to the originality alleged to be suffered, and irrespective of whether the said print is vintage (the term “vintage” may also be included in affect the immediate safety of a firearm in normal use. An of the wood covered by fabric or upholstery. loss or damage is caused by or claimed in respect of any the Lot Description). A vintage photograph is one which intending Bidder unable to make technical examinations 24. WINE negligence, other tort, breach of contract (if any) or statutory was made within approximately 5-10 years of the negative. and assessments is recommended to seek advice from a duty, restitutionary claim or otherwise. In any circumstances 19. JEWELLERY Where a second, later date appears, this refers to the date Lots which are lying under Bond and those liable to VAT may gunmaker or from a modern firearms specialist. All prospective where we and/or the Seller are liable in relation to any Lot or of printing. Where the exact printing date is not known, but not be available for immediate collection. Bidders are advised to consult the ˚ of bore and wall-thickness Ruby and Jadeite any Description or Estimate made of any Lot, or the conduct Ruby ͌ and jadeite gemstones of Burmese (Myanmar) origin understood to be later, “printed later” will appear in the Lot measurements posted in the saleroom and available from the of any Sale in relation to any Lot, whether in damages, for may not be imported into the US. Rubies and jadeite of Description. department. Bidders should note that guns are stripped only Examining the wines an indemnity or contribution, or for a restitutionary remedy or non–Burmese origin require certification before import • Unless otherwise specified, dimensions given are those of It is occasionally possible to provide a pre-Sale tasting for where there otherwise, our and/or the Seller’s liability (combined, if both into the US and it is the Buyer’s responsibility to obtain all the piece of paper on which the image is printed, including larger parcels (as defined below). This is generally limited to is a strong indication of a mechanical malfunction. Stripping we and the Seller are liable) will be limited to payment of a sum relevant and required export/import licences, certificates any margins. Some photographs may appear in the more recent and everyday drinking wines. Please contact the is not, otherwise, undertaken. Guns intended for use should which will not exceed by way of maximum the amount of the and documentation before shipping. Failure by the Buyer to Catalogue without margins illustrated. department for details. be stripped and cleaned beforehand. Hammer guns should Purchase Price of the Lot irrespective in any case of the nature, successfully import goods into the US does not constitute • All photographs are sold unframed unless stated in the Lot have their rebound mechanisms checked before use. The volume or source of any loss or damage alleged to be suffered grounds for non payment or cancellation of Sale. Bonhams Description. safety mechanisms of all guns must be tested before use. or sum claimed as due, and irrespective of whether the liability will not be responsible for any additional costs in this regard All measurements are approximate. arises from any negligence, other tort, breach of contract (if howsoever incurred. any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or

NTB/MAIN/06.15 NTB/MAIN/06.15 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality DENOTE of the Lot or its fitness for any purpose. 2.1.1 the Seller is the owner of the Lot or is duly authorised Y Subject to CITES regulations when exporting these items to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE outside the EU, see clause 13. W Objects displayed with a w will be located in the 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked Bonhams Warehouse and will only be available for Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s collection from this location. guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will ≈ Please note that as a result of recent legislation ruby and liquidator, receiver or administrator, with whatever not be responsible thereafter for the Lot prior to jadeite gem stones of Burmese (Myanmar) origin may right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage not be imported into the US. Rubies and jadeite of non- Contractor, with whom you have separate contract(s) Burmese origin require certification before import into the 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the US. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, Δ Wines lying in Bond. legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in AR An Additional Premium will be payable to us by the Buyer of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the to cover our Expenses relating to payment of royalties and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until you under the Artists Resale Right Regulations 2006. See the terms implied by the Sale of Goods Act 1979, obtain full title to it. clause 7 for details. Sections 12(1) and 12(2) (see the Definitions and ○ The Seller has been guaranteed a minimum price for the Glossary); 5.2 Title to the Lot remains in and is retained by the Lot, either by Bonhams or a third party. This may take the Seller until the Purchase Price and all other sums form of an irrevocable bid by a third party, who may make 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot a financial gain on a successful Sale or a financial loss if otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared unsuccessful. and all duties and taxes in respect of the export or funds by, Bonhams. ▲ Bonhams owns the Lot either wholly or partially or may import of the Lot have (unless stated to the contrary otherwise have an economic interest. in the Catalogue or announced by the Auctioneer) 6 PAYMENT This lot contains or is made of ivory. The United States Ф been paid and, so far as the Seller is aware, all third Government has banned the import of ivory into parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises the USA. the past; when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. Ω a •, †, *, G, , see clause 8, VAT, for details. 2.1.5 subject to any alterations expressly identified as such made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment of DATA PROTECTION – USE OF YOUR INFORMATION or by the Notice to Bidders or by an insert in the the Purchase Price and all other sums payable by Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you Where we obtain any personal information about you, we Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case shall only use it in accordance with the terms of our Privacy about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), Policy (subject to any additional specific consent(s) you may letters and (except for colour) with any photograph of all such sums must be paid to Bonhams by you have given at the time your information was disclosed). A the Lot in the Catalogue and the contents of in the currency in which the Sale was conducted copy of our Privacy Policy can be found on our Website www. any Condition Report which has been provided to by not later than 4.30pm on the second working bonhams.com or requested by post from Customer Services the Buyer. day following the Sale and you must ensure that Department, 101 New Bond Street, London, W1S 1SR or by the funds are cleared by the seventh working day email from [email protected] 3 DESCRIPTIONS OF THE LOT after the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to APPENDIX 1 3.1 Paragraph 2.1.5 sets out what is the Contractual Bidders unless otherwise agreed with you in writing Description of the Lot. In particular, the Lot is not by Bonhams. If you do not pay any sums due in CONTRACT FOR SALE sold as corresponding with that part of the Entry in accordance with this paragraph, the Seller will have the Catalogue which is not printed in bold letters, the rights set out in paragraph 8 below. These terms may be changed in advance of IMPORTANT: which merely sets out (on the Seller’s behalf) the Sale of the Lot to you, by the setting out of different terms Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT in the Catalogue for the Sale and/or by placing an insert in the part of the Contractual Description upon which the Catalogue and/or by notices at the Sale venue and/or by oral Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by announcements before and during the Sale at the Sale venue. than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your You should be alert to this possibility of changes and ask in 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared advance of bidding if there have been any. as referred to in paragraph 2.1.5), including any funds to the amount of the full Purchase Price and Description or Estimate, whether made orally or in all other sums owed by you to the Seller and to Under this contract the Seller’s liability in respect of the quality writing, including in the Catalogue or on Bonhams’ Bonhams. of the Lot, it’s fitness for any purpose and its conformity with Website, or by conduct, or otherwise, and whether any Description is limited. You are strongly advised to examine by or on behalf of the Seller or Bonhams and 7.2 The Seller is entitled to withhold possession from you the Lot for yourself and/or obtain an independent examination whether made prior to or during the Sale, is not part of any other Lot he has sold to you at the same or of it before you buy it. of the Contractual Description upon which the Lot is at any other Sale and whether currently in Bonhams’ sold. possession or not until payment in full and in cleared 1 THE CONTRACT funds of the Purchase Price and all other sums due 3.2 Except as provided in paragraph 2.1.5, the Seller to the Seller and/or Bonhams in respect of the Lot. 1.1 These terms govern the Contract for Sale of the Lot does not make or give and does not agree to by the Seller to the Buyer. make or give any contractual promise, undertaking, 7.3 You will collect and remove the Lot at your own obligation, guarantee, warranty, or representation expense from Bonhams’ custody and/ or control or 1.2 The Definitions and Glossary contained in Appendix of fact, or undertake any duty of care, in relation to from the Storage Contractor’s custody in accordance 3 in the Catalogue are incorporated into this Contract any Description of the Lot or any Estimate in relation with Bonhams’ instructions or requirements. for Sale and a separate copy can also be provided to it, nor of the accuracy or completeness of any by Bonhams on request. Where words and phrases Description or Estimate which may have been made 7.4 You will be wholly responsible for packing, handling are used which are in the List of Definitions, they are by or on behalf of the Seller including by Bonhams. and transport of the Lot on collection and for printed in italics. No such Description or Estimate is incorporated into complying with all import or export regulations in this Contract for Sale. connection with the Lot. 1.3 The Seller sells the Lot as the principal to the Contract for Sale, such contract being made 7.5 You will be wholly responsible for any removal, between the Seller and you through Bonhams which 4 FITNESS FOR PURPOSE AND storage or other charges or Expenses incurred acts in the sole capacity as the Seller’s agent and not SATISFACTORY QUALITY by the Seller if you do not remove the Lot in as an additional principal. However, if the Catalogue 4.1 The Seller does not make and does not agree accordance with this paragraph 7 and will states that Bonhams sells the Lot as principal, or to make any contractual promise, undertaking, indemnify the Seller against all charges, costs, such a statement is made by an announcement obligation, guarantee, warranty, or representation of including any legal costs and fees, Expenses and by the Auctioneer, or by a notice at the Sale, or an fact in relation to the satisfactory quality of the Lot or losses suffered by the Seller by reason of your insert in the Catalogue, then Bonhams is the Seller its fitness for any purpose. failure to remove the Lot including any charges for the purposes of this agreement. due under any Storage Contract. All such sums due to the Seller will be payable on demand. 1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked NTB/MAIN/06.15 down to you. SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented undertaking, whether implied by the Sale of Goods from performing that party’s respective obligations THE FOLLOWING SYMBOLS ARE USED TO 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality 8.1 If the Purchase Price for a Lot is not paid to 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances DENOTE of the Lot or its fitness for any purpose. Bonhams in full in accordance with the Contract for damage caused by the Lot after the fall of the beyond its reasonable control or if performance of its 2.1.1 the Seller is the owner of the Lot or is duly authorised Sale the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances Y Subject to CITES regulations when exporting these items to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE agreement of Bonhams but without further notice to give rise to a significantly increased financial outside the EU, see clause 13. you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach of cost to it, that party will not, for so long as such W Objects displayed with a w will be located in the 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked (whether through Bonhams or otherwise): the express undertaking provided in paragraph 2.1.5, circumstances prevail, be required to perform such Bonhams Warehouse and will only be available for Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s the Seller will not be liable for any breach of any term obligations. This paragraph does not apply to the collection from this location. guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will 8.1.1 to terminate immediately the Contract for Sale of the that the Lot will correspond with any Description obligations imposed on you by paragraph 6. ≈ Please note that as a result of recent legislation ruby and liquidator, receiver or administrator, with whatever not be responsible thereafter for the Lot prior to Lot for your breach of contract; applied to it by or on behalf of the Seller, whether jadeite gem stones of Burmese (Myanmar) origin may right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage implied by the Sale of Goods Act 1979 or otherwise. 10.4 Any notice or other communication to be given not be imported into the US. Rubies and jadeite of non- Contractor, with whom you have separate contract(s) 8.1.2 to resell the Lot by auction, private treaty or any under the Contract for Sale must be in writing and Burmese origin require certification before import into the 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the other means on giving seven days’ written notice to 9.3 Unless the Seller sells the Lot in the course of a may be delivered by hand or sent by first class US. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, you of the intention to resell; Business and the Buyer buys it as a Consumer, post or air mail or fax transmission, if to the Seller, Δ Wines lying in Bond. legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in addressed c/o Bonhams at its address or fax AR An Additional Premium will be payable to us by the Buyer of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the 8.1.3 to retain possession of the Lot; 9.3.1 the Seller will not be liable (whether in negligence, number in the Catalogue (marked for the attention of to cover our Expenses relating to payment of royalties and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until you other tort, breach of contract or statutory duty or in the Company Secretary), and if to you to the address under the Artists Resale Right Regulations 2006. See the terms implied by the Sale of Goods Act 1979, obtain full title to it. 8.1.4 to remove and store the Lot at your expense; restitution or under the Misrepresentation Act 1967, or fax number of the Buyer given in the Bidding Form clause 7 for details. Sections 12(1) and 12(2) (see the Definitions and or in any other way) for any lack of conformity with, (unless notice of any change of address is given in ○ The Seller has been guaranteed a minimum price for the Glossary); 5.2 Title to the Lot remains in and is retained by the 8.1.5 to take legal proceedings against you for any sum or inaccuracy, error, misdescription or omission in writing). It is the responsibility of the sender of the Lot, either by Bonhams or a third party. This may take the Seller until the Purchase Price and all other sums due under the Contract for Sale and/or damages for any Description of the Lot or any Entry or Estimate in notice or communication to ensure that it is received form of an irrevocable bid by a third party, who may make 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot breach of contract; relation to the Lot made by or on behalf of the Seller in a legible form within any applicable time period. a financial gain on a successful Sale or a financial loss if otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared (whether made in writing, including in the Catalogue, unsuccessful. and all duties and taxes in respect of the export or funds by, Bonhams. 8.1.6 to be paid interest on any monies due (after as well or on the Website, or orally, or by conduct or 10.5 If any term or any part of any term of the Contract ▲ Bonhams owns the Lot either wholly or partially or may import of the Lot have (unless stated to the contrary as before judgement or order) at the annual rate otherwise) and whether made before or after this for Sale is held to be unenforceable or invalid, otherwise have an economic interest. in the Catalogue or announced by the Auctioneer) 6 PAYMENT of 5% per annum above the base rate of National agreement or prior to or during the Sale; such unenforceability or invalidity will not affect the This lot contains or is made of ivory. The United States Ф been paid and, so far as the Seller is aware, all third Westminster Bank Plc from time to time to be enforceability and validity of the remaining terms or Government has banned the import of ivory into parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises calculated on a daily basis from the date upon which 9.3.2 the Seller will not be liable for any loss of Business, the remainder of the relevant term. the USA. the past; when the Lot is knocked down to you on the fall of such monies become payable until the date of actual Business profits or revenue or income or for loss of the Auctioneer’s hammer in respect of the Lot. payment; reputation or for disruption to Business or wasted 10.6 References in the Contract for Sale to Bonhams will, Ω a •, †, *, G, , see clause 8, VAT, for details. 2.1.5 subject to any alterations expressly identified as such time on the part of the Buyer or of the Buyer’s where appropriate, include reference to Bonhams’ made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment of 8.1.7 to repossess the Lot (or any part thereof) which has management or staff or, for any indirect losses or officers, employees and agents. DATA PROTECTION – USE OF YOUR INFORMATION or by the Notice to Bidders or by an insert in the the Purchase Price and all other sums payable by not become your property, and for this purpose consequential damages of any kind, irrespective in Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you (unless the Buyer buys the Lot as a Consumer from any case of the nature, volume or source of the loss 10.7 The headings used in the Contract for Sale are for Where we obtain any personal information about you, we Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case the Seller selling in the course of a Business) you or damage alleged to be suffered, and irrespective convenience only and will not affect its interpretation. shall only use it in accordance with the terms of our Privacy about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), hereby grant an irrevocable licence to the Seller by of whether the said loss or damage is caused by Policy (subject to any additional specific consent(s) you may letters and (except for colour) with any photograph of all such sums must be paid to Bonhams by you himself and to his servants or agents to enter upon or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means “including, have given at the time your information was disclosed). A the Lot in the Catalogue and the contents of in the currency in which the Sale was conducted all or any of your premises (with or without vehicles) breach of contract, statutory duty, restitutionary claim without limitation”. copy of our Privacy Policy can be found on our Website www. any Condition Report which has been provided to by not later than 4.30pm on the second working during normal Business hours to take possession of or otherwise; bonhams.com or requested by post from Customer Services the Buyer. day following the Sale and you must ensure that the Lot or part thereof; 10.9 References to the singular will include reference to Department, 101 New Bond Street, London, W1S 1SR or by the funds are cleared by the seventh working day 9.3.3 in any circumstances where the Seller is liable to the plural (and vice versa) and reference to any one email from [email protected] 3 DESCRIPTIONS OF THE LOT after the Sale. Payment must be made to Bonhams 8.1.8 to retain possession of any other property sold to you in respect of the Lot, or any act, omission, gender will include reference to the other genders. by one of the methods stated in the Notice to you by the Seller at the Sale or any other auction statement, or representation in respect of it, or APPENDIX 1 3.1 Paragraph 2.1.5 sets out what is the Contractual Bidders unless otherwise agreed with you in writing or by private treaty until all sums due under the this agreement or its performance, and whether in 10.10 Reference to a numbered paragraph is to a Description of the Lot. In particular, the Lot is not by Bonhams. If you do not pay any sums due in Contract for Sale shall have been paid in full in damages, for an indemnity or contribution or for paragraph of the Contract for Sale. CONTRACT FOR SALE sold as corresponding with that part of the Entry in accordance with this paragraph, the Seller will have cleared funds; a restitutionary remedy or in any way whatsoever, the Catalogue which is not printed in bold letters, the rights set out in paragraph 8 below. the Seller’s liability will be limited to payment of a 10.11 Save as expressly provided in paragraph 10.12 These terms may be changed in advance of IMPORTANT: which merely sets out (on the Seller’s behalf) 8.1.9 to retain possession of, and on three months’ written sum which will not exceed by way of maximum the nothing in the Contract for Sale confers (or purports the Sale of the Lot to you, by the setting out of different terms Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT notice to sell, Without Reserve, any of your other amount of the Purchase Price of the Lot irrespective to confer) on any person who is not a party to the in the Catalogue for the Sale and/or by placing an insert in the part of the Contractual Description upon which the property in the possession of the Seller and/or of in any case of the nature, volume or source of Contract for Sale any benefit conferred by, or the Catalogue and/or by notices at the Sale venue and/or by oral Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by Bonhams (as bailee for the Seller) for any purpose any loss or damage alleged to be suffered or sum right to enforce any term of, the Contract for Sale. announcements before and during the Sale at the Sale venue. than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your (including, without limitation, other goods sold to claimed as due, and irrespective of whether the You should be alert to this possibility of changes and ask in 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared you) and to apply any monies due to you as a result liability arises from any negligence, other tort, breach 10.12 Where the Contract for Sale confers an immunity advance of bidding if there have been any. as referred to in paragraph 2.1.5), including any funds to the amount of the full Purchase Price and of such Sale in satisfaction or part satisfaction of any of contract, statutory duty, bailee’s duty, restitutionary from, and/or an exclusion or restriction of, the Description or Estimate, whether made orally or in all other sums owed by you to the Seller and to amounts owed to the Seller or to Bonhams; and claim or otherwise. responsibility and/or liability of the Seller, it will also Under this contract the Seller’s liability in respect of the quality writing, including in the Catalogue or on Bonhams’ Bonhams. operate in favour and for the benefit ofBonhams, of the Lot, it’s fitness for any purpose and its conformity with Website, or by conduct, or otherwise, and whether 8.1.10 so long as such goods remain in the possession 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will Bonhams’ holding company and the subsidiaries any Description is limited. You are strongly advised to examine by or on behalf of the Seller or Bonhams and 7.2 The Seller is entitled to withhold possession from you of the Seller or Bonhams as its bailee, to rescind be construed as excluding or restricting (whether of such holding company and the successors and the Lot for yourself and/or obtain an independent examination whether made prior to or during the Sale, is not part of any other Lot he has sold to you at the same or the contract for the Sale of any other goods sold to directly or indirectly) any person’s liability or excluding assigns of Bonhams and of such companies and of of it before you buy it. of the Contractual Description upon which the Lot is at any other Sale and whether currently in Bonhams’ you by the Seller at the Sale or at any other auction or restricting any person’s rights or remedies in any officer, employee and agent of Bonhams and sold. possession or not until payment in full and in cleared or by private treaty and apply any monies received respect of (i) fraud, or (ii) death or personal injury such companies, each of whom will be entitled to 1 THE CONTRACT funds of the Purchase Price and all other sums due from you in respect of such goods in part or full caused by the Seller’s negligence (or any person rely on the relevant immunity and/or exclusion and/or 3.2 Except as provided in paragraph 2.1.5, the Seller to the Seller and/or Bonhams in respect of the Lot. satisfaction of any amounts owed to the Seller or to under the Seller’s control or for whom the Seller is restriction within and for the purposes of Contracts 1.1 These terms govern the Contract for Sale of the Lot does not make or give and does not agree to Bonhams by you. legally responsible), or (iii) acts or omissions for which (Rights of Third Parties) Act 1999, which enables the by the Seller to the Buyer. make or give any contractual promise, undertaking, 7.3 You will collect and remove the Lot at your own the Seller is liable under the Occupiers Liability Act benefit of a contract to be extended to a person who obligation, guarantee, warranty, or representation expense from Bonhams’ custody and/ or control or 8.2 You agree to indemnify the Seller against all legal 1957, or (iv) any other liability to the extent the same is not a party to the contract, and generally at law. 1.2 The Definitions and Glossary contained in Appendix of fact, or undertake any duty of care, in relation to from the Storage Contractor’s custody in accordance and other costs of enforcement, all losses and other may not be excluded or restricted as a matter of law. 3 in the Catalogue are incorporated into this Contract any Description of the Lot or any Estimate in relation with Bonhams’ instructions or requirements. Expenses and costs (including any monies payable 11 GOVERNING LAW for Sale and a separate copy can also be provided to it, nor of the accuracy or completeness of any to Bonhams in order to obtain the release of the by Bonhams on request. Where words and phrases 10 MISCELLANEOUS Description or Estimate which may have been made 7.4 You will be wholly responsible for packing, handling Lot) incurred by the Seller (whether or not court All transactions to which the Contract for Sale are used which are in the List of Definitions, they are by or on behalf of the Seller including by Bonhams. and transport of the Lot on collection and for proceedings will have been issued) as a result of 10.1 You may not assign either the benefit or burden of applies and all connected matters will be governed printed in italics. No such Description or Estimate is incorporated into complying with all import or export regulations in Bonhams taking steps under this paragraph 8 on the Contract for Sale. by and construed in accordance with the laws of this Contract for Sale. connection with the Lot. a full indemnity basis together with interest thereon that part of the United Kingdom where the Sale 1.3 The Seller sells the Lot as the principal to the (after as well as before judgement or order) at the 10.2 The Seller’s failure or delay in enforcing or exercising takes place and the Seller and you each submit to Contract for Sale, such contract being made 7.5 You will be wholly responsible for any removal, rate specified in paragraph 8.1.6 from the date upon any power or right under the Contract for Sale will the exclusive jurisdiction of the courts of that part between the Seller and you through Bonhams which 4 FITNESS FOR PURPOSE AND storage or other charges or Expenses incurred which the Seller becomes liable to pay the same until not operate or be deemed to operate as a waiver of of the United Kingdom, save that the Seller may acts in the sole capacity as the Seller’s agent and not SATISFACTORY QUALITY by the Seller if you do not remove the Lot in payment by you. his rights under it except to the extent of any express bring proceedings against you in any other court of as an additional principal. However, if the Catalogue 4.1 The Seller does not make and does not agree accordance with this paragraph 7 and will waiver given to you in writing. Any such waiver will competent jurisdiction to the extent permitted by states that Bonhams sells the Lot as principal, or to make any contractual promise, undertaking, indemnify the Seller against all charges, costs, 8.3 On any resale of the Lot under paragraph 8.1.2, the not affect the Seller’s ability subsequently to enforce the laws of the relevant jurisdiction. Bonhams has a such a statement is made by an announcement obligation, guarantee, warranty, or representation of including any legal costs and fees, Expenses and Seller will account to you in respect of any balance any right arising under the Contract for Sale. complaints procedure in place. by the Auctioneer, or by a notice at the Sale, or an fact in relation to the satisfactory quality of the Lot or losses suffered by the Seller by reason of your remaining from any monies received by him or on insert in the Catalogue, then Bonhams is the Seller its fitness for any purpose. failure to remove the Lot including any charges his behalf in respect of the Lot, after the payment of for the purposes of this agreement. due under any Storage Contract. All such sums all sums due to the Seller and to Bonhams, within due to the Seller will be payable on demand. 28 days of receipt of such monies by him or on his 1.4 The contract is made on the fall of the Auctioneer’s behalf. hammer in respect of the Lot when it is knocked NTB/MAIN/06.15 NTB/MAIN/06.15 down to you. APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as acting as your agent and on your behalf, to enter otherwise set out in the Notice to Bidders, you must into a contract (the “Storage Contract”) with the IMPORTANT: These terms may be changed in advance of pay to us by not later than 4.30pm on the second Storage Contractor for the storage of the Lot on the the Sale of the Lot to you, by the setting out of different terms working day following the Sale: then current standard terms and conditions agreed in the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. which is calculated and payable in accordance with 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. into this agreement and a separate copy can also be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the charges (and all costs of moving the Lot into storage) Reference is made in this agreement to information methods of payment set out in the Notice to due under any Storage Contract. You acknowledge printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the and agree that you will not be able to collect the Lot Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an from the Storage Contractor’s premises until you is referred to it is incorporated into this agreement. agent for a named principal and we have approved have paid the Purchase Price, any Expenses and all that arrangement, in which case we will address the charges due under the Storage Contract. 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. also made between you and Bonhams on the terms all such sums. in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any event before any collection of the Lot by you or on 1.5 Our personal obligations to you are governed by 3.6 Time will be of the essence in relation to any your behalf. this agreement and we agree, subject to the terms payment payable to us. If you do not pay the below, to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT accordance with this paragraph 3, we will have the 1.5.1 we will, until the date and time specified in the Notice rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your to Bidders or otherwise notified to you, store the Lot removal of the Lot or until the time and date set out in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down in the Notice to Bidders, on the Sale Information to you, any monies we receive from you will be Page or at the back of the catalogue (or if no date 1.5.2 subject to any power of the Seller or us to refuse to applied firstly pro-rata to pay the Purchase Price of is specified, by 4.30pm on the seventh day after the release the Lot to you, we will release the Lot to you each Lot and secondly pro-rata to pay all amounts Sale) and, subject to paragraphs 6 and 10, to be in accordance with paragraph 4 once you have paid due to Bonhams. responsible as bailee to you for damage to or the to us, in cleared funds, everything due to us and the loss or destruction of the Lot (notwithstanding that it Seller; 4 COLLECTION OF THE LOT is not your property before payment of the Purchase Price). If you do not collect the Lot before the time 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us incorporated into this agreement between you and Notice to Bidders for collection on the days and will title in the Lot pass to you. However under the us. Any such Description or Estimate, if made by us times specified in the Notice to Bidders. Thereafter, Contract for Sale, the risk in the Lot passed to you or on our behalf, was (unless Bonhams itself sells the Lot may be removed elsewhere for storage and when it was knocked down to you. the Lot as principal) made as agent on behalf of the you must enquire from us as to when and where you Seller. can collect it, although this information will usually be 6.2 You are advised to obtain insurance in respect of the set out in the Notice to Bidders. Lot as soon as possible after the Sale. 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.

140 | BONHAMS NTB/MAIN/06.15 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if: specified in the Notice to Bidders, you authorise us, AND PART PAYMENTS payment shall be applied firstly to the Purchase Price BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as acting as your agent and on your behalf, to enter of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the otherwise set out in the Notice to Bidders, you must into a contract (the “Storage Contract”) with the 7.1 If all sums payable to us are not so paid in full at one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general IMPORTANT: These terms may be changed in advance of pay to us by not later than 4.30pm on the second Storage Contractor for the storage of the Lot on the the time they are due and/or the Lot is not removed Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated the Sale of the Lot to you, by the setting out of different terms working day following the Sale: then current standard terms and conditions agreed in accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected in the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot more of the following rights (without prejudice to any other sums due to us. to be a leading expert in the relevant field; or announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current rights we may exercise on behalf of the Seller): You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per 7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for period referred to in paragraph 4.2. These storage breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. this paragraph 7 after the payment of all sums due to published or by means of a process which it was which is calculated and payable in accordance with 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any all such sums paid to us. employed. personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as 7.1.3 to remove, and/or store the Lot at your expense; a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage 8 CLAIMS BY OTHER PERSONS IN RESPECT 9.4 You authorise us to carry out such processes and Contractor as agent on behalf of the Seller and 7.1.4 to take legal proceedings against you for payment OF THE LOT tests on the Lot as we in our absolute discretion 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot is is or is not a Forgery. into this agreement and a separate copy can also contract; the subject of a claim by someone other than you be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any and other than the Seller (or that such a claim can 9.5 If we are satisfied that a Lot is a Forgery we will (as phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the 7.1.5 to be paid interest on any monies due to us (after reasonably be expected to be made), we may, at our principal) purchase the Lot from you and you will are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the charges (and all costs of moving the Lot into storage) as well as before judgement or order) at the annual absolute discretion, deal with the Lot in any manner transfer the title to the Lot in question to us, with Reference is made in this agreement to information methods of payment set out in the Notice to due under any Storage Contract. You acknowledge rate of 5% per annum above the base lending rate which appears to us to recognise the legitimate full title guarantee, free from any liens, charges, printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the and agree that you will not be able to collect the Lot of National Westminster Bank Plc from time to time interests of ourselves and the other parties involved encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an from the Storage Contractor’s premises until you to be calculated on a daily basis from the date upon and lawfully to protect our position and our legitimate with the provisions of Sections 12(1) and 12(2) of is referred to it is incorporated into this agreement. agent for a named principal and we have approved have paid the Purchase Price, any Expenses and all which such monies become payable until the date of interests. Without prejudice to the generality of the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the charges due under the Storage Contract. actual payment; discretion and by way of example, we may: an amount equal to the sum of the Purchase Price, 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. Buyer’s Premium, VAT and Expenses paid by you in Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling 7.1.6 to repossess the Lot (or any part thereof) which has 8.1.1 retain the Lot to investigate any question raised or respect of the Lot. and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for not become your property, and for this purpose reasonably expected by us to be raised in relation to hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in (unless you buy the Lot as a Consumer) you hereby the Lot; and/or 9.6 The benefit of paragraph 9 is personal to, and down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. grant an irrevocable licence to us, by ourselves, our incapable of assignment by, you. also made between you and Bonhams on the terms all such sums. servants or agents, to enter upon all or any of your 8.1.2 deliver the Lot to a person other than you; and/or in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 9.7 If you sell or otherwise dispose of your interest in the 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed business hours to take possession of any Lot or part 8.1.3 commence interpleader proceedings or seek any Lot, all rights and benefits under this paragraph will 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our thereof; other order of any court, mediator, arbitrator or cease. answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including government body; and/or breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of 7.1.7 to sell the Lot Without Reserve by auction, private 9.8 Paragraph 9 does not apply to a Lot made up of or unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any treaty or any other means on giving you three 8.1.4 require an indemnity and/or security from you in including a Chinese painting or Chinese paintings, a event before any collection of the Lot by you or on months’ written notice of our intention to do so; return for pursuing a course of action agreed to by motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by 3.6 Time will be of the essence in relation to any your behalf. you. or a Book or Books. this agreement and we agree, subject to the terms payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in below, to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT our possession for any purpose (including, without 8.2 The discretion referred to in paragraph 8.1: 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for Sale) 1.5.1 we will, until the date and time specified in the Notice rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your until all sums due to us have been paid in full; 8.2.1 may be exercised at any time during which we have 10.1 We will not be liable whether in negligence, other to Bidders or otherwise notified to you, store the Lot removal of the Lot or until the time and date set out actual or constructive possession of the Lot, or at tort, breach of contract or statutory duty or in in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any any time after such possession, where the cessation restitution or under the Misrepresentation Act 1967 to you, any monies we receive from you will be Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any of such possession has occurred by reason of any or in any other way for lack of conformity with or 1.5.2 subject to any power of the Seller or us to refuse to applied firstly pro-rata to pay the Purchase Price of is specified, by 4.30pm on the seventh day after the time thereafter in payment or part payment of any decision, order or ruling of any court, mediator, any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you each Lot and secondly pro-rata to pay all amounts Sale) and, subject to paragraphs 6 and 10, to be sums due to us by you under this agreement; arbitrator or government body; and any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid due to Bonhams. responsible as bailee to you for damage to or the in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the loss or destruction of the Lot (notwithstanding that it 7.1.10 on three months’ written notice to sell, Without 8.2.2 will not be exercised unless we believe that there or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT is not your property before payment of the Purchase Reserve, any of your other property in our exists a serious prospect of a good arguable case in including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time possession or under our control for any purpose favour of the claim. Website, or orally, or by conduct or otherwise) and 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no (including other goods sold to you or with us for whether made before or after this agreement or prior paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day Sale) and to apply any monies due to you as a result 9 FORGERIES to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another of such Sale in payment or part payment of any 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out amounts owed to us; 9.1 We undertake a personal responsibility for any 10.2 Our duty to you while the Lot is at your risk and/or or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have Forgery in accordance with the terms of this your property and in our custody and/or control is to obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, 7.1.11 refuse to allow you to register for a future Sale or to paragraph 9. exercise reasonable care in relation to it, but we will fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, reject a bid from you at any future Sale or to require not be responsible for damage to the Lot or to other Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to you to pay a deposit before any bid is accepted by 9.2 Paragraph 9 applies only if: persons or things caused by: completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the us at any future Sale in which case we will be entitled may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with to apply such deposit in payment or part payment, 9.2.1 your name appears as the named person to whom 10.2.1 handling the Lot if it was affected at the time of Sale or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. as the case may be, of the Purchase Price of any Lot the original invoice was made out by us in respect of to you by woodworm and any damage is caused as writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. of which you are the Buyer. the Lot and that invoice has been paid; and a result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably 10.2.2 changes in atmospheric pressure; nor will we be during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us costs, all losses and all other Expenses (whether or practicable after you have become aware that the liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred Lot is or may be a Forgery, and in any event within us. Any such Description or Estimate, if made by us times specified in the Notice to Bidders. Thereafter, Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this one year after the Sale, that the Lot is a Forgery; and 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells the Lot may be removed elsewhere for storage and when it was knocked down to you. paragraph 7 on a full indemnity basis together with the Lot as principal) made as agent on behalf of the you must enquire from us as to when and where you interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been 10.2.4 damage to gilded picture frames, plaster picture Seller. can collect it, although this information will usually be 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition frames or picture frame glass; and if the Lot is or set out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR same until payment by you. written evidence that the Lot is a Forgery and details notice to you in advance in any manner we think fit SALE of the Sale and Lot number sufficient to identify the and we will be under no liability to you for doing so. Lot. 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.

NTB/MAIN/06.15 NTB/MAIN/06.15 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are for Business profits, revenue or income or for loss of reflected the then accepted general opinion of convenience only and will not affect its interpretation. Business reputation or for disruption to Business or scholars and experts or fairly indicated that there wasted time on the part of the Buyer’s management was a conflict of such opinion; or 12.8 In this agreement “including” means “including, or staff or, if you are buying the Lot in the course of without limitation”. a Business, for any indirect losses or consequential it can be established that the Lot is a non- damages of any kind, irrespective in any case of conforming Lot only by means of a process not 12.9 References to the singular will include reference to the nature, volume or source of the loss or damage generally accepted for use until after the date on the plural (and vice versa) and reference to any one alleged to be suffered, and irrespective of whether which the Catalogue was published or by means gender will include reference to the other genders. the said loss or damage is caused by or claimed of a process which it was unreasonable in all the in respect of any negligence, other tort, breach of circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a contract, statutory duty, bailee’s duty, a restitutionary paragraph of this agreement. claim or otherwise. the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or 12.11 Save as expressly provided in paragraph 12.12 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or nothing in this agreement confers (or purports to circumstances where we are liable to you in confer) on any person who is not a party to this respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under agreement any benefit conferred by, or the right to representation in respect of it, or this agreement “collections” or “collections and various” or the Lot enforce any term of, this agreement. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain a an indemnity or contribution or for a restitutionary collection, issue or Books which are undescribed or 12.12 Where this agreement confers an immunity remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the from, and/or an exclusion or restriction of, the limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles responsibility and/or liability of Bonhams, it will also by way of maximum the amount of the Purchase or advertisements. operate in favour and for the benefit of Bonhams’ Price of the Lot plus Buyer’s Premium (less any holding company and the subsidiaries of such sum you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- holding company and the successors and assigns irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the of Bonhams and of such companies and of any source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot officer, employee and agent of Bonhams and such or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from companies, each of whom will be entitled to rely the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse on the relevant immunity and/or exclusion and/or breach of contract, statutory duty, bailee’s duty, a claims and we will pay to you an amount equal to restriction within and for the purposes of Contracts restitutionary claim or otherwise. the sum of the Purchase Price and Buyer’s Premium (Rights of Third Parties) Act 1999, which enables the paid by you in respect of the Lot. benefit of a contract to be extended to a person who You may wish to protect yourself against loss by is not a party to the contract, and generally at law. obtaining insurance. The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or 13 GOVERNING LAW 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all rights or restricting (whether directly or indirectly) any and benefits under this paragraph will cease. All transactions to which this agreement applies person’s liability or excluding or restricting any and all connected matters will be governed by and person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS construed in accordance with the laws of that part (ii) death or personal injury caused by our negligence of the United Kingdom where the Sale takes (or (or any person under our control or for whom we 12.1 You may not assign either the benefit or burden of is to take) place and we and you each submit to are legally responsible), or (iii) acts or omissions for this agreement. the exclusive jurisdiction of the courts of that part which we are liable under the Occupiers Liability Act of the United Kingdom, save that we may bring 1957, or (iv) any other liability to the extent the same 12.2 Our failure or delay in enforcing or exercising any proceedings against you in any other court of may not be excluded or restricted as a matter of law, power or right under this agreement will not operate competent jurisdiction to the extent permitted by or (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights the laws of the relevant jurisdiction. Bonhams has a conditions. under it except to the extent of any express waiver complaints procedure in place. given to you in writing. Any such waiver will not affect 11 BOOKS MISSING TEXT OR ILLUSTRATIONS our ability subsequently to enforce any right arising DATA PROTECTION – USE OF YOUR INFORMATION under this agreement. Where the Lot is made up wholly of a Book or Books Where we obtain any personal information about you, we and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from shall only use it in accordance with the terms of our Privacy either case referred to as a “non-conforming Lot”), performing that party’s respective obligations Policy (subject to any additional specific consent(s) you may we undertake a personal responsibility for such a under this agreement by circumstances beyond its have given at the time your information was disclosed). A non-conforming Lot in accordance with the terms of reasonable control or if performance of its obligations copy of our Privacy Policy can be found on our Website www. this paragraph, if: would by reason of such circumstances give rise bonhams.com or requested by post from Customer Services to a significantly increased financial cost to it, that Department, 101 New Bond Street, London W1S 1SR, United the original invoice was made out by us to you in party will not, for so long as such circumstances Kingdom or by email from [email protected]. respect of the Lot and that invoice has been paid; prevail, be required to perform such obligations. This and paragraph does not apply to the obligations imposed APPENDIX 3 on you by paragraph 3. you notify us in writing as soon as reasonably DEFINITIONS AND GLOSSARY practicable after you have become aware that the 12.4 Any notice or other communication to be given Lot is or may be a non-conforming Lot, and in any under this agreement must be in writing and may Where these Definitions and Glossary are incorporated, the event within 20 days after the Sale (or such longer be delivered by hand or sent by first class post or following words and phrases used have (unless the context period as we may agree in writing) that the Lot is a air mail or fax transmission (if to Bonhams marked otherwise requires) the meanings given to them below. The non-conforming Lot; and for the attention of the Company Secretary), to the Glossary is to assist you to understand words and phrases address or fax number of the relevant party given which have a specific legal meaning with which you may not within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change be familiar. such longer period as we may agree in writing) you of address is given in writing). It is the responsibility return the Lot to us in the same condition as it was of the sender of the notice or communication to LIST OF DEFINITIONS at the time of the Sale, accompanied by written ensure that it is received in a legible form within any evidence that the Lot is a non-conforming Lot and applicable time period. “Additional Premium” a premium, calculated in accordance details of the Sale and Lot number sufficient to with the Notice to Bidders, to cover Bonhams’ Expenses identify the Lot. 12.5 If any term or any part of any term of this agreement relating to the payment of royalties under the Artists Resale is held to be unenforceable or invalid, such Right Regulations 2006 which is payable by the Buyer to but not if: unenforceability or invalidity will not affect the Bonhams on any Lot marked [AR] which sells for a Hammer enforceability and validity of the remaining terms or Price which together with the Buyer’s Premium (but excluding the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. any VAT) equals or exceeds 1000 euros (converted into indicates that the rights given by this paragraph do the currency of the Sale using the European Central Bank not apply to it; or 12.6 References in this agreement to Bonhams will, where Reference rate prevailing on the date of the Sale). appropriate, include reference to Bonhams’ officers, “Auctioneer” the representative of Bonhams conducting employees and agents. the Sale.

NTB/MAIN/06.15 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are for “Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art Business profits, revenue or income or for loss of reflected the then accepted general opinion of convenience only and will not affect its interpretation. “Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the Business reputation or for disruption to Business or scholars and experts or fairly indicated that there Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the wasted time on the part of the Buyer’s management was a conflict of such opinion; or 12.8 In this agreement “including” means “including, “Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006. or staff or, if you are buying the Lot in the course of without limitation”. assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted. a Business, for any indirect losses or consequential it can be established that the Lot is a non- the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has the damages of any kind, irrespective in any case of conforming Lot only by means of a process not 12.9 References to the singular will include reference to words “we”, “us” and “our”. include, unless the context otherwise requires, reference to benefit of the indemnity in the same position in which he would the nature, volume or source of the loss or damage generally accepted for use until after the date on the plural (and vice versa) and reference to any one “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items have been, had the circumstances giving rise to the indemnity alleged to be suffered, and irrespective of whether which the Catalogue was published or by means gender will include reference to the other genders. Sale. offered for Sale as one Lot). not arisen and the expression “indemnify” is construed the said loss or damage is caused by or claimed of a process which it was unreasonable in all the “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to accordingly. in respect of any negligence, other tort, breach of circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a “Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to contract, statutory duty, bailee’s duty, a restitutionary paragraph of this agreement. Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot. claim or otherwise. the Lot comprises atlases, maps, autographs, Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by manuscripts, extra illustrated books, music or 12.11 Save as expressly provided in paragraph 12.12 “your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale. 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or nothing in this agreement confers (or purports to “Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to circumstances where we are liable to you in confer) on any person who is not a party to this with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it. respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under agreement any benefit conferred by, or the right to “Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged, representation in respect of it, or this agreement “collections” or “collections and various” or the Lot enforce any term of, this agreement. at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain a “Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot. an indemnity or contribution or for a restitutionary collection, issue or Books which are undescribed or 12.12 Where this agreement confers an immunity including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the from, and/or an exclusion or restriction of, the our Website. calculated according to the formula set out in the Conditions doer has a duty of care. limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles responsibility and/or liability of Bonhams, it will also “Commission” the Commission payable by the Seller to of Business. by way of maximum the amount of the Purchase or advertisements. operate in favour and for the benefit of Bonhams’ Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979 Price of the Lot plus Buyer’s Premium (less any holding company and the subsidiaries of such “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the sum you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- holding company and the successors and assigns provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979: irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the of Bonhams and of such companies and of any of the Seller. the Reserve applicable to the Lot. source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot officer, employee and agent of Bonhams and such “Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from companies, each of whom will be entitled to rely Buyer’s Agreement and Definitions and Glossary. our Catalogues. the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse on the relevant immunity and/or exclusion and/or “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and (1) In a contract of sale, other than one to which subsection breach of contract, statutory duty, bailee’s duty, a claims and we will pay to you an amount equal to restriction within and for the purposes of Contracts calculated at rates set out in the Conditions of Business. VAT on the Hammer Price (where applicable), the Buyer’s (3) below applies, there is an implied term on the part of restitutionary claim or otherwise. the sum of the Purchase Price and Buyer’s Premium (Rights of Third Parties) Act 1999, which enables the “Consumer” a natural person who is acting for the relevant Premium and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell paid by you in respect of the Lot. benefit of a contract to be extended to a person who purpose outside his trade, Business or profession. “Reserve” the minimum price at which a Lot may be sold the goods, and in the case of an agreement to sell he You may wish to protect yourself against loss by is not a party to the contract, and generally at law. “Contract Form” the Contract Form, or vehicle Entry form, as (whether at auction or by private treaty). will have such a right at the time when the property is to obtaining insurance. The benefit of paragraph 10 is personal to, and applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered forSale pass. incapable of assignment by, you and if you sell or 13 GOVERNING LAW to be offered for Sale by Bonhams. by Bonhams. 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all rights “Contract for Sale” the Sale contract entered into by the “Sale Proceeds” the net amount due to the Seller from the (2) In a contract of sale, other than one to which subsection or restricting (whether directly or indirectly) any and benefits under this paragraph will cease. All transactions to which this agreement applies Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, (3) below applies, there is also an implied term that- person’s liability or excluding or restricting any and all connected matters will be governed by and “Contractual Description” the only Description of the Lot any VAT chargeable thereon, Expenses and any other amount person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS construed in accordance with the laws of that part (being that part of the Entry about the Lot in the Catalogue due to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until (ii) death or personal injury caused by our negligence of the United Kingdom where the Sale takes (or which is in bold letters, any photograph (except for the colour) “Seller” the person who offers the Lot for Sale named on the time when the property is to pass, from any (or any person under our control or for whom we 12.1 You may not assign either the benefit or burden of is to take) place and we and you each submit to and the contents of any Condition Report) to which the Seller the Contract Form. Where the person so named identifies on charge or encumbrance not disclosed or known are legally responsible), or (iii) acts or omissions for this agreement. the exclusive jurisdiction of the courts of that part undertakes in the Contract of Sale the Lot corresponds. the form another person as acting as his agent, or where the to the buyer before the contract is made, and which we are liable under the Occupiers Liability Act of the United Kingdom, save that we may bring “Description” any statement or representation in any person named on the Contract Form acts as an agent for a 1957, or (iv) any other liability to the extent the same 12.2 Our failure or delay in enforcing or exercising any proceedings against you in any other court of way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or (b) the buyer will enjoy quiet possession of the may not be excluded or restricted as a matter of law, power or right under this agreement will not operate competent jurisdiction to the extent permitted by representation relating to its authorship, attribution, condition, not), “Seller” includes both the agent and the principal who goods except in so far as it may be disturbed by or (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights the laws of the relevant jurisdiction. Bonhams has a provenance, authenticity, style, period, age, suitability, quality, shall be jointly and severally liable as such. The Seller is also the owner or other person entitled to the benefit conditions. under it except to the extent of any express waiver complaints procedure in place. origin, value, estimated selling price (including the Hammer referred to in the Conditions of Business by the words “you” of any charge or encumbrance so disclosed or given to you in writing. Any such waiver will not affect Price). and “your”. known. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS our ability subsequently to enforce any right arising DATA PROTECTION – USE OF YOUR INFORMATION “Entry” a written statement in the Catalogue identifying the “Specialist Examination” a visual examination of a Lot by a under this agreement. Lot and its Lot number which may contain a Description and specialist on the Lot. (3) This subsection applies to a contract of sale in the Where the Lot is made up wholly of a Book or Books Where we obtain any personal information about you, we illustration(s) relating to the Lot. “Stamp” means a postage Stamp offered for Sale at a case of which there appears from the contract or is and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from shall only use it in accordance with the terms of our Privacy “Estimate” a statement of our opinion of the range within Specialist Stamp Sale. to be inferred from its circumstances an intention that either case referred to as a “non-conforming Lot”), performing that party’s respective obligations Policy (subject to any additional specific consent(s) you may which the hammer is likely to fall. “Standard Examination” a visual examination of a Lot by a the seller should transfer only such title as he or a third we undertake a personal responsibility for such a under this agreement by circumstances beyond its have given at the time your information was disclosed). A “Expenses” charges and Expenses paid or payable by non-specialist member of Bonhams’ staff. person may have. non-conforming Lot in accordance with the terms of reasonable control or if performance of its obligations copy of our Privacy Policy can be found on our Website www. Bonhams in respect of the Lot including legal Expenses, “Storage Contract” means the contract described in this paragraph, if: would by reason of such circumstances give rise bonhams.com or requested by post from Customer Services banking charges and Expenses incurred as a result of paragraph 8.3.3 of the Conditions of Business or paragraph (4) In a contract to which subsection (3) above applies there to a significantly increased financial cost to it, that Department, 101 New Bond Street, London W1S 1SR, United an electronic transfer of money, charges and Expenses 4.4 of the Buyer’s Agreement (as appropriate). is an implied term that all charges or encumbrances the original invoice was made out by us to you in party will not, for so long as such circumstances Kingdom or by email from [email protected]. for loss and damage cover, insurance, Catalogue and “Storage Contractor” means the company identified as such known to the seller and not known to the buyer have respect of the Lot and that invoice has been paid; prevail, be required to perform such obligations. This other reproductions and illustrations, any customs duties, in the Catalogue. been disclosed to the buyer before the contract is and paragraph does not apply to the obligations imposed APPENDIX 3 advertising, packing or shipping costs, reproductions rights’ “Terrorism” means any act or threatened act of terrorism, made. on you by paragraph 3. fees, taxes, levies, costs of testing, searches or enquiries, whether any person is acting alone or on behalf of or in you notify us in writing as soon as reasonably DEFINITIONS AND GLOSSARY preparation of the Lot for Sale, storage charges, removal connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies practicable after you have become aware that the 12.4 Any notice or other communication to be given charges, removal charges or costs of collection from the Seller committed for political, religious or ideological or similar there is also an implied term that none of the following Lot is or may be a non-conforming Lot, and in any under this agreement must be in writing and may Where these Definitions and Glossary are incorporated, the as the Seller’s agents or from a defaulting Buyer, plus VAT if purposes including, but not limited to, the intention to influence will disturb the buyer’s quiet possession of the goods, event within 20 days after the Sale (or such longer be delivered by hand or sent by first class post or following words and phrases used have (unless the context applicable. any government and/or put the public or any section of the namely: period as we may agree in writing) that the Lot is a air mail or fax transmission (if to Bonhams marked otherwise requires) the meanings given to them below. The “Forgery” an imitation intended by the maker or any other public into fear. non-conforming Lot; and for the attention of the Company Secretary), to the Glossary is to assist you to understand words and phrases person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; address or fax number of the relevant party given which have a specific legal meaning with which you may not authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change be familiar. source or composition, which at the date of the Sale had a Lot will be paid, such account to be a distinct and separate (b) in a case where the parties to the contract intend such longer period as we may agree in writing) you of address is given in writing). It is the responsibility value materially less than it would have had if the Lot had not account to Bonhams’ normal business bank account. that the seller should transfer only such title as a return the Lot to us in the same condition as it was of the sender of the notice or communication to LIST OF DEFINITIONS been such an imitation, and which is not stated to be such “VAT” value added tax at the prevailing rate at the date of the third person may have, that person; at the time of the Sale, accompanied by written ensure that it is received in a legible form within any an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. evidence that the Lot is a non-conforming Lot and applicable time period. “Additional Premium” a premium, calculated in accordance Forgery by reason of any damage to, and/or restoration and/ “Website” Bonhams Website at www.bonhams.com (c) anyone claiming through or under the seller or details of the Sale and Lot number sufficient to with the Notice to Bidders, to cover Bonhams’ Expenses or modification work (including repainting or over painting) “Withdrawal Notice” the Seller’s written notice to Bonhams that third person otherwise than under a charge identify the Lot. 12.5 If any term or any part of any term of this agreement relating to the payment of royalties under the Artists Resale having been carried out on the Lot, where that damage, revoking Bonhams’ instructions to sell a Lot. or encumbrance disclosed or known to the buyer is held to be unenforceable or invalid, such Right Regulations 2006 which is payable by the Buyer to restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at which before the contract is made. but not if: unenforceability or invalidity will not affect the Bonhams on any Lot marked [AR] which sells for a Hammer substantially affect the identity of the Lot as one conforming to a Lot may be sold (whether at auction or by private treaty). enforceability and validity of the remaining terms or Price which together with the Buyer’s Premium (but excluding the Description of the Lot. (5A) As regards England and Wales and Northern Ireland, the the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. any VAT) equals or exceeds 1000 euros (converted into “Guarantee” the obligation undertaken personally by GLOSSARY term implied by subsection (1) above is a condition and indicates that the rights given by this paragraph do the currency of the Sale using the European Central Bank Bonhams to the Buyer in respect of any Forgery and, in the the terms implied by subsections (2), (4) and (5) above not apply to it; or 12.6 References in this agreement to Bonhams will, where Reference rate prevailing on the date of the Sale). case of specialist Stamp Sales and/or specialist Book Sales, a The following expressions have specific legal meanings with are warranties.” appropriate, include reference to Bonhams’ officers, “Auctioneer” the representative of Bonhams conducting Lot made up of a Stamp or Stamps or a Book or Books as set which you may not be familiar. The following glossary is employees and agents. the Sale. out in the Buyer’s Agreement. intended to give you an understanding of those expressions “Hammer Price” the price in the currency in which the Sale is but is not intended to limit their legal meanings: conducted at which a Lot is knocked down by the Auctioneer.

NTB/MAIN/06.15 NTB/MAIN/06.15 To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected]

19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments UK Porcelain & Pottery UK UK Jon Baddeley Charles O’ Brien UK Guy Savill Tim Schofield +44 20 7393 3872 +44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A. U.S.A +44 20 7468 8244 U.S.A U.S.A Jonathan Snellenburg Madalina Lazen U.S.A Andrew Jones Mark Osborne +1 212 461 6530 +1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353 +1 415 503 3326 EUROPE Scottish Pictures 20th Century British Art Greek Art Philip Kantor Chris Brickley Matthew Bradbury California & Olympia Pappa +32 476 879 471 +44 131 240 2297 +44 20 7468 8295 American Paintings +44 20 7468 8314 Scot Levitt Automobilia Silver & Gold Boxes Aboriginal Art +1 323 436 5425 Golf Sporting UK UK Francesca Cavazzini Memorabilia Toby Wilson Michael Moorcroft +61 2 8412 2222 Carpets Kevin Mcgimpsey +44 8700 273 619 +44 20 7468 8241 UK +44 1244 353123 Adrian Pipiros U.S.A African, Oceanic Mark Dance +44 8700 273621 Aileen Ward & Pre-Columbian Art +44 8700 27361 Irish Art +1 800 223 5463 UK U.S.A. Penny Day Motorcycles Philip Keith Hadji Rahimipour +44 20 7468 8366 Ben Walker South African Art +44 2920 727 980 +1 415 503 3392 +44 8700 273616 Giles Peppiatt U.S.A Impressionist & +44 20 7468 8355 Fredric Backlar Chinese & Asian Art Modern Art Native American Art +1 323 436 5416 UK UK Jim Haas Sporting Guns Asaph Hyman India Phillips +1 415 503 3294 Patrick Hawes American Paintings +44 20 7468 5888 +44 20 7468 8328 +44 20 7393 3815 Alan Fausel U.S.A U.S.A Natural History +1 212 644 9039 Dessa Goddard Tanya Wells U.S.A Travel Pictures +1 415 503 3333 +1 917 206 1685 Claudia Florian Veronique Scorer Antiquities HONG KONG +1 323 436 5437 +44 20 7393 3962 Madeleine Perridge +852 3607 0010 Islamic & Indian Art +44 20 7468 8226 AUSTRALIA Claire Penhallurick Old Master Pictures Urban Art Yvett Klein +44 20 7468 8249 UK Gareth Williams Antique Arms & Armour +61 2 8412 2222 Andrew Mckenzie +44 20 7468 5879 UK Japanese Art +44 20 7468 8261 David Williams Clocks UK U.S.A Watches & +44 20 7393 3807 UK Suzannah Yip Mark Fisher Wristwatches U.S.A James Stratton +44 20 7468 8368 +1 323 436 5488 UK Paul Carella +44 20 7468 8364 U.S.A +44 20 7447 7412 +1 415 503 3360 U.S.A Jeff Olson Orientalist Art U.S.A. Jonathan Snellenburg +1 212 461 6516 Charles O’Brien Jonathan Snellenburg Art Collections, +1 212 461 6530 +44 20 7468 8360 +1 212 461 6530 Estates & Valuations Jewellery HONG KONG Harvey Cammell Coins & Medals UK Photography Nicholas Biebuyck +44 (0) 20 7468 8340 UK Jean Ghika U.S.A +852 2918 4321 John Millensted +44 20 7468 8282 Judith Eurich Art Nouveau & Decorative +44 20 7393 3914 U.S.A +1 415 503 3259 Whisky Art & Design U.S.A Susan Abeles UK UK Paul Song +1 212 461 6525 Portrait Miniatures Martin Green Mark Oliver +1 323 436 5455 AUSTRALIA UK +44 1292 520000 +44 20 7393 3856 Anellie Manolas +44 20 7393 3986 U.S.A U.S.A Contemporary Art +61 2 8412 2222 Joseph Hyman Frank Maraschiello UK HONG KONG Prints and Multiples +1 917 206 1661 +1 212 644 9059 Ralph Taylor Graeme Thompson UK HONG KONG +44 20 7447 7403 +852 3607 0006 Rupert Worrall Daniel Lam Australian Art U.S.A +44 20 7468 8262 +852 3607 0004 Merryn Schriever Jeremy Goldsmith Marine Art U.S.A +61 2 8412 2222 +1 917 206 1656 UK Judith Eurich Wine Alex Clark Veronique Scorer +1 415 503 3259 UK +61 3 8640 4088 Costume & Textiles +44 20 7393 3962 Richard Harvey Claire Browne U.S.A Russian Art +44 (0) 20 7468 5811 Australian Colonial +44 1564 732969 Gregg Dietrich UK U.S.A Furniture and Australiana +1 917 206 1697 Daria Chernenko Doug Davidson +1 415 861 7500 Entertainment +44 20 7468 8334 +1 415 503 3363 Memorabilia Mechanical Music U.S.A HONG KONG Books, Maps & UK Jon Baddeley Yelena Harbick Daniel Lam Manuscripts +44 20 7393 3844 +44 20 7393 3872 +1 212 644 9136 +852 3607 0004 UK U.S.A Matthew Haley Catherine Williamson Modern, Contemporary +44 20 7393 3817 +1 323 436 5442 & Latin American Art U.S.A U.S.A Christina Geiger Alexis Chompaisal +1 212 644 9094 +1 323 436 5469

British & European Glass Modern Design UK Gareth Williams Simon Cottle +44 20 7468 5879 +44 20 7468 8383 U.S.A. Suzy Pai +1 415 503 3343

SD30/7/15 International Salerooms, Offices and Associated Companies( • Indicates Saleroom) To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected] UNITED KINGDOM Representatives: Scotland The Netherlands Representatives: ASIA Dorset De Lairessestraat 154 Arizona London Bill Allan Edinburgh • 1075 HL Amsterdam Terri Adrian-Hardy Hong Kong • 19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments 101 New Bond Street • +44 1935 815 271 22 Queen Street +31 (0) 20 67 09 701 +1 (480) 994 5362 Suite 2001 UK Porcelain & Pottery UK UK Jon Baddeley London W1S 1SR Edinburgh [email protected] One Pacific Place Charles O’ Brien UK Guy Savill Tim Schofield +44 20 7393 3872 +44 20 7447 7447 East Anglia EH2 1JX California 88 Queensway +44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A. +44 20 7447 7400 fax +44 131 225 2266 Portugal Central Valley Admiralty U.S.A +44 20 7468 8244 Bury St. Edmunds +44 131 220 2547 fax Rua Bartolomeu Dias nº David Daniel Hong Kong U.S.A U.S.A Jonathan Snellenburg 21 Churchgate Street 160. 1º +1 (916) 364 1645 +852 2918 4321 Madalina Lazen U.S.A Andrew Jones Mark Osborne +1 212 461 6530 Montpelier Street • London SW7 1HH Bury St Edmunds Glasgow Belem +852 2918 4320 fax +1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353 +44 20 7393 3900 Suffolk IP33 1RG 176 St. Vincent Street, 1400-031 Lisbon Southern California [email protected] Christine Eisenberg +1 415 503 3326 EUROPE Scottish Pictures +44 20 7393 3905 fax +44 1284 716 190 Glasgow +351 218 293 291 20th Century British Art Greek Art Philip Kantor Chris Brickley +44 1284 755 844 fax G2 5SG [email protected] +1 (949) 646 6560 Beijing Hongyu Yu Matthew Bradbury California & Olympia Pappa +32 476 879 471 +44 131 240 2297 South East +44 141 223 8866 Colorado Suite 511 England Norfolk +44 141 223 8868 fax Russia – Moscow Julie Segraves +44 20 7468 8295 American Paintings +44 20 7468 8314 Chang An Club The Market Place Anastasia Vinokurova +1 (720) 355 3737 Scot Levitt Automobilia Silver & Gold Boxes Reepham Representatives: +7 964 562 3845 10 East Chang An Avenue Aboriginal Art +1 323 436 5425 Golf Sporting UK UK Brighton & Hove 19 Palmeira Square Norfolk NR10 4JJ Wine & Spirits [email protected] Florida Beijing 100006 Francesca Cavazzini Memorabilia Toby Wilson Michael Moorcroft Hove, East Sussex +44 1603 871 443 Tom Gilbey Palm Beach +86(0) 10 6528 0922 +61 2 8412 2222 Carpets Kevin Mcgimpsey +44 8700 273 619 +44 20 7468 8241 BN3 2JN +44 1603 872 973 fax +44 1382 330 256 Russia - St. Petersburg +1 (561) 651 7876 +86(0) 10 6528 0933 fax UK +44 1244 353123 Adrian Pipiros U.S.A +44 1273 220 000 Marina Jacobson Miami [email protected] African, Oceanic Mark Dance +44 8700 273621 Aileen Ward +44 1273 220 335 fax Midlands Wales +7 921 555 2302 +1 (305) 228 6600 [email protected] Ft. Lauderdale Japan & Pre-Columbian Art +44 8700 27361 Irish Art +1 800 223 5463 Akiko Tsuchida Knowle Cardiff +1 (954) 566 1630 UK U.S.A. Penny Day Motorcycles Guildford Level 14 Hibiya Central Millmead, The Old House 7-8 Park Place, Spain - Barcelona Building Philip Keith Hadji Rahimipour +44 20 7468 8366 Ben Walker South African Art Guildford, Station Road Cardiff CF10 3DP Teresa Ybarra Georgia 1-2-9 Nishi-Shimbashi +44 2920 727 980 +1 415 503 3392 +44 8700 273616 Giles Peppiatt Surrey GU2 4BE Knowle, Solihull +44 2920 727 980 +34 930 087 876 Mary Moore Bethea Minato-ku U.S.A Impressionist & +44 20 7468 8355 +44 1483 504 030 West Midlands +44 2920 727 989 fax [email protected] +1 (404) 842 1500 Tokyo 105-0003 Fredric Backlar Chinese & Asian Art Modern Art Native American Art +44 1483 450 205 fax B93 0HT +44 1564 776 151 Illinois +81 (0) 3 5532 8636 +1 323 436 5416 UK UK Jim Haas Sporting Guns Spain - Madrid Ricki Blumberg Harris +44 1564 778 069 fax Nunez de Balboa no 4-1A +81 (0) 3 5532 8637 fax Isle of Wight EUROPE +1 (312) 475 3922 Asaph Hyman India Phillips +1 415 503 3294 Patrick Hawes 28001 Madrid [email protected] +44 1273 220 000 +1 (773) 267 3300 American Paintings +44 20 7468 5888 +44 20 7468 8328 +44 20 7393 3815 Oxford • Austria +34 915 78 17 27 Natural History Alan Fausel U.S.A U.S.A Representative: Banbury Road Tuchlauben 8 [email protected] Massachusetts Singapore +1 212 644 9039 Dessa Goddard Tanya Wells U.S.A Travel Pictures Kent Shipton on Cherwell 1010 Vienna Boston/New England Bernadette Rankine +1 415 503 3333 +1 917 206 1685 Claudia Florian Veronique Scorer George Dawes Kidlington OX5 1JH +43 (0) 1 403 0001 Spain - Marbella Amy Corcoran 11th Floor, Wisma Atria Antiquities HONG KONG +1 323 436 5437 +44 20 7393 3962 +44 1483 504 030 +44 1865 853 640 [email protected] James Roberts +1 (617) 742 0909 435 Orchard Road Madeleine Perridge +852 3607 0010 Islamic & Indian Art +44 1865 372 722 fax +34 952 90 62 50 Singapore 238877 [email protected] +65 (0) 6701 8038 +44 20 7468 8226 AUSTRALIA Claire Penhallurick Old Master Pictures Urban Art West Sussex Belgium Nevada +44 (0) 1273 220 000 Yorkshire & North East Boulevard David Daniel +65 (0) 6701 8001 fax Yvett Klein +44 20 7468 8249 UK Gareth Williams England Saint-Michel 101 Switzerland +1 (775) 831 0330 bernadette.rankine@ Antique Arms & Armour +61 2 8412 2222 Andrew Mckenzie +44 20 7468 5879 South West 1040 Brussels Rue Etienne-Dumont 10 bonhams.com UK Japanese Art +44 20 7468 8261 England Leeds +32 (0) 2 736 5076 1204 Geneva Oregon David Williams Clocks UK U.S.A Watches & 30 Park Square West [email protected] +41 (0) 22 300 3160 Sheryl Acheson Taiwan Leeds LS1 2PF [email protected] +1(503) 312 6023 Summer Fang +44 20 7393 3807 UK Suzannah Yip Mark Fisher Wristwatches Bath 37th Floor, Taipei 101 Tower U.S.A James Stratton +44 20 7468 8368 +1 323 436 5488 UK Queen Square House +44 113 234 5755 Denmark Charlotte Street +44 113 244 3910 fax Henning Thomsen Pennsylvania Nor 7 Xinyi Road, Section 5 Margaret Tierney Paul Carella +44 20 7468 8364 U.S.A +44 20 7447 7412 Bath BA1 2LL +45 4178 4799 Taipei, 100 MIDDLE EAST +1 (610) 644 1199 +1 415 503 3360 U.S.A Jeff Olson Orientalist Art U.S.A. +44 1225 788 988 North West England [email protected] +886 2 8758 2898 Jonathan Snellenburg +1 212 461 6516 Charles O’Brien Jonathan Snellenburg +44 1225 446 675 fax Dubai +886 2 8757 2897 fax Deborah Najar Texas summer.fang@ Art Collections, +1 212 461 6530 +44 20 7468 8360 +1 212 461 6530 Chester France Amy Lawch 2 St Johns Court, 4 rue de la Paix +971 (0)56 113 4146 bonhams.com Estates & Valuations Jewellery HONG KONG Cornwall – Truro +1 (713) 621 5988 Harvey Cammell Coins & Medals UK Photography Nicholas Biebuyck 36 Lemon Street Vicars Lane, 75002 Paris [email protected] Chester, +33 (0) 1 42 61 10 10 Truro Washington +44 (0) 20 7468 8340 UK Jean Ghika U.S.A +852 2918 4321 Ch1 1QE [email protected] AUSTRALIA John Millensted +44 20 7468 8282 Judith Eurich Cornwall Israel Heather O’Mahony TR1 2NR +44 1244 313 936 Joslynne Halibard +1 (206) 218 5011 Art Nouveau & Decorative +44 20 7393 3914 U.S.A +1 415 503 3259 Whisky +44 1872 250 170 +44 1244 340 028 fax Germany - Cologne +972 (0)54 553 5337 Sydney Art & Design U.S.A Susan Abeles UK +44 1872 250 179 fax Albertusstrasse 26 joslynne.halibard@ Washington DC 97-99 Queen Street, UK Paul Song +1 212 461 6525 Portrait Miniatures Martin Green Manchester 50667 Cologne bonhams.com Mid-Atlantic Region Woollahra, NSW 2025 Mark Oliver +1 323 436 5455 AUSTRALIA UK +44 1292 520000 Exeter The Stables +49 (0) 221 2779 9650 Martin Gammon Australia +44 20 7393 3856 The Lodge 213 Ashley Road [email protected] +1 (202) 333 1696 +61 (0) 2 8412 2222 Anellie Manolas +44 20 7393 3986 U.S.A Hale WA15 9TB +61 (0) 2 9475 4110 fax U.S.A Contemporary Art +61 2 8412 2222 Joseph Hyman Southernhay West Exeter, NORTH AMERICA Devon +44 161 927 3822 Germany - Munich [email protected] Frank Maraschiello UK HONG KONG Prints and Multiples +1 917 206 1661 EX1 1JG +44 161 927 3824 fax Maximilianstrasse 52 USA CANADA +1 212 644 9059 Ralph Taylor Graeme Thompson UK HONG KONG +44 1392 425 264 80538 Munich Melbourne +44 20 7447 7403 +852 3607 0006 Rupert Worrall Daniel Lam +44 1392 494 561 fax +49 (0) 89 2420 5812 San Francisco • Toronto, Ontario • Como House Australian Art U.S.A +44 20 7468 8262 +852 3607 0004 Channel Islands [email protected] 220 San Bruno Avenue Jack Kerr-Wilson Como Avenue San Francisco 20 Hazelton Avenue Merryn Schriever Jeremy Goldsmith Marine Art U.S.A Winchester South Yarra CA 94103 Toronto, ONT Melbourne VIC 3141 +61 2 8412 2222 +1 917 206 1656 UK Judith Eurich Wine The Red House Jersey Greece Hyde Street La Chasse 7 Neofytou Vamva Street +1 (415) 861 7500 M5R 2E2 Australia Alex Clark Veronique Scorer +1 415 503 3259 UK Winchester La Rue de la Vallee Athens 10674 +1 (415) 861 8951 fax +1 (416) 462 9004 +61 (0) 3 8640 4088 +61 3 8640 4088 Costume & Textiles +44 20 7393 3962 Richard Harvey St Mary +30 (0) 210 3636 404 [email protected] +61 (0) 2 9475 4110 fax Hants SO23 7DX • Claire Browne U.S.A Russian Art +44 (0) 20 7468 5811 +44 1962 862 515 Jersey JE3 3DL [email protected] Los Angeles [email protected] +44 1534 722 441 7601 W. Sunset Boulevard Montreal, Quebec Australian Colonial +44 1564 732969 Gregg Dietrich UK U.S.A +44 1962 865 166 fax David Kelsey +44 1534 759 354 fax Los Angeles Furniture and Australiana +1 917 206 1697 Daria Chernenko Doug Davidson Ireland CA 90046 +1 (514) 341 9238 +1 415 861 7500 Entertainment +44 20 7468 8334 +1 415 503 3363 Tetbury 31 Molesworth Street [email protected] AFRICA Representative: Dublin 2 +1 (323) 850 7500 Memorabilia Mechanical Music U.S.A HONG KONG 22a Long Street +1 (323) 850 6090 fax Tetbury Guernsey +353 (0) 1 602 0990 Nigeria Neil Coventry Books, Maps & UK Jon Baddeley Yelena Harbick Daniel Lam Gloucestershire +44 1481 722 448 [email protected] +234 (0)7065 888 666 Manuscripts +44 20 7393 3844 +44 20 7393 3872 +1 212 644 9136 +852 3607 0004 GL8 8AQ New York • SOUTH AMERICA 580 Madison Avenue [email protected] UK U.S.A +44 1666 502 200 Italy - Milan Argentina Via Boccaccio 22 New York, NY Matthew Haley Catherine Williamson Modern, Contemporary +44 1666 505 107 fax Daniel Claramunt South Africa - 20123 Milano 10022 +44 20 7393 3817 +1 323 436 5442 & Latin American Art +1 (212) 644 9001 +54 11 479 37600 Johannesburg +39 0 2 4953 9020 Penny Culverwell U.S.A U.S.A [email protected] +1 (212) 644 9007 fax Christina Geiger Alexis Chompaisal Brazil +27 (0)71 342 2670 +55 11 3031 4444 [email protected] +1 212 644 9094 +1 323 436 5469 Italy - Rome +55 11 3031 4444 fax Via Sicilia 50 British & European Glass Modern Design 00187 Roma UK Gareth Williams +39 0 6 48 5900 Simon Cottle +44 20 7468 5879 [email protected]

+44 20 7468 8383 U.S.A. Suzy Pai +1 415 503 3343 G-NET8/9/15

SD30/7/15 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) A RARE SET OF FOUR CLOISONNÉ ENQUIRIES FINE CHINESE ART +44 (0) 20 7468 8248 Please circle your bidding method above. ENAMEL ‘FLOWER’ PANELS Thursday 12 November 2015 Qianlong/Jiaqing [email protected] New Bond Street, London Each 100.2cm (39 3/8in) x 27.8cm (11in) Sale title: ISLAMIC AND INDIAN ART Sale date: 6 October 2015 £100,000-150,000 Lady Anne M.S. Durston Sale no. Sale venue: Provenance: 22816 New Bond Street, London Collection, and thence by descent. Paddle number (for office use only) 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 This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) 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 E-mail (in capitals) the company’s behalf. Failure to provide this may result in By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news your bids not being processed. For higher value lots you concerning Bonhams. Bonhams does not sell or trade email addresses. may also be asked to provide a bank reference. I am registering to bid as a private buyer I am registering to bid as a trade buyer If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)

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)

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:

* 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. 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.com/chineseart Bonhams,146 Customer | BONHAMS Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/06/14 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. A RARE SET OF FOUR CLOISONNÉ ENQUIRIES FINE CHINESE ART ENAMEL ‘FLOWER’ PANELS +44 (0) 20 7468 8248 Thursday 12 November 2015 Qianlong/Jiaqing [email protected] New Bond Street, London Each 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

MICHEL JEAN CAZABON ENQUIRIES TRAVEL AND (1813-1888) +44 (0) 207 393 3865 EXPLORATION Landscape with figures [email protected] Tuesday 3 November 2015 and horse, Trinidad watercolour (detail) Knightsbridge £7,000 - 9,000

bonhams.com/travel ENQUIRIES MODERN AND +44 (0) 20 7468 8382 CONTEMPORARY [email protected] SOUTH ASIAN ART Monday 5 October 2015 New Bond Street, London

TYEB MEHTA (INDIA, 1925-2009) Untitled (Figure), 1959 £300,000 - 500,000

bonhams.com/ind A LARGE CELTIC LA TÈNE ENQUIRIES ANTIQUITIES BRONZE BEAKED FLAGON +44 (0) 207 468 8226 Wednesday 30 September 2015 CIRCA LATE 5TH CENTURY B.C. [email protected] New Bond Street, London Estimate £70,000-90,000

bonhams.com/antiquities

Bonhams 101 New Bond Street London W1S 1SR

+44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax

International Auctioneers and Valuers – bonhams.com