Art of The Islamic and India Worlds PDF
Art of The Islamic and India Worlds PDF
Art of The Islamic and India Worlds PDF
IFC2
PROPERTIES FROM
AUCTION
The Collection of
Elizabeth B. Moynihan
Friday
Saturday
Sunday
Monday
Tuesday
Wednesday
15 April
16 April
17 April
18 April
19 April
20 April
9.ooam - 4.3opm
12noon - 5.0opm
12noon - 5.0opm
9.ooam - 4.3opm
9.ooam - 4.3opm
9.ooam - 4.3opm
AUCTIONEERS
Romain Pingannaud
and William Robinson
CONDITIONS OF SALE
AUCTION RESULTS
[30]
christies.com
William Robinson
International Head of Group
Tel: +44 (0)207 389 2370
G. Max Bernheimer
International Head of
Antiquities Department
Tel: +1 212 636 2247
Susan Kloman
International Head of African
& Oceanic Art Department
Tel: +1 212 484 4898
Deepanjana Klein
Daniel Gallen
International Head of South
International Managing Director
Asian Modern & Contemporary Tel: +44 (0) 207 389 2590
Art Department
Tel: +1 212 636 2189
ISLAMIC ART
Paris
Pierre Amrouche (Consultant)
Tel: +33 1 40 76 84 48
ANTIQUITIES
London
Georgiana Aitken
Laetitia Delaloye
Victoria Hearn
Tel: +44 (0)20 7752 3195
New York
Hannah Solomon
Alexandra Olsman
Tel: +1 212 636 2256
Zurich
Ludovic Marock
Tel: +41 44 268 10 26
21 APRIL
ART OF THE ISLAMIC &
INDIAN WORLDS
LONDON, KING STREET
22 APRIL
ART & TEXTILES OF
THE ISLAMIC & INDIAN
WORLDS
LONDON, SOUTH
KENSINGTON
22 APRIL
ISLAMIC & INDIAN
MANUSCRIPTS
LONDON, SOUTH
KENSINGTON
BUSINESS MANAGERS
London
Julia Grant
Tel: +44 (0)207 752 3113
France
Sarah de Maistre
Tel: +33 (0)1 40 76 83 56
New York
Drew Watson
Tel: +1 212 636 2245
New York
Sandhya Jain-Patel
Leiko Coyle
Isabel McWilliams
Tel: +1 212 636 2190
26 MAY
ARTS OF INDIA
LONDON, KING STREET
26 MAY
SOUTH ASIAN MODERN
+ CONTEMPORARY ART
LONDON, KING STREET
23 JUNE
ART AFRICAIN ET
OCANIEN
PARIS
6 JULY
ANTIQUITIES
LONDON, KING STREET
13 SEPTEMBER
INDIAN, HIMALAYAN,
AND SOUTHEAST
ASIAN WORKS OF ART
NEW YORK
14 SEPTEMBER
SOUTH ASIAN MODERN
+ CONTEMPORARY ART
NEW YORK
5 OCTOBER
ANTIQUITIES
NEW YORK
20 OCTOBER
ART OF THE ISLAMIC &
INDIAN WORLDS
LONDON, KING STREET
21 OCTOBER
ART & TEXTILES OF
THE ISLAMIC & INDIAN
WORLDS
LONDON, SOUTH
KENSINGTON
7 DECEMBER
ANTIQUITIES
LONDON, KING STREET
9 DECEMBER
ANCIENT JEWELRY
NEW YORK
18 DECEMBER
THE INDIA SALE
MUMBAI
1 DECEMBER
ART DAFRIQUE,
DOCANIE ET
DAMRIQUE DU NORD
PARIS
03/03/2016
4
Sara Plumbly
Head of Department
King Street
Tel: +44 (0)20 7389 2374
Andrew Butler-Wheelhouse
Specialist
King Street
Tel: +44 (0)20 7389 2196
Chiara de Nicolais
Auction Administrator/
Cataloguer
King Street
Tel: +44 (0)20 7389 2372
Xavier Fournier
Junior Specialist
South Kensington
Rui da Silva
Auction Administrator
South Kensington
South Kensington
Romain Pingannaud
Head of Department
South Kensington
SPECIALISTS
SERVICES
Sara Plumbly
Romain Pingannaud
Andrew Butler-Wheelhouse
Xavier Fournier
Tel: +44 (0)20 7389 2372
Fax: +44 (0)20 7389 2326
CLIENT SERVICES
AUCTION RESULTS
SHIPPING
AUCTION ADMINISTRATOR
Chiara de Nicolais
Tel: +44 (0)20 7389 2372
BUSINESS MANAGER
Julia Grant
Tel: +44 (0)20 7752 3113
EMAIL
COPYRIGHT NOTICE
No part of this catalogue may be reproduced,
stored in a retrieval system or transmitted
by any form or by any means, electronic,
mechanical, photocopying, recording or
otherwise, without the prior written permission
of Christies.
COPYRIGHT, CHRISTIE, MANSON &
WOODS LTD. (2016)
CATALOGUES ONLINE
Lotfinder
Internet: www.christies.com
christies.com
*1
BABUR IN BATTLE
MUGHAL INDIA, CIRCA 1590
Opaque pigments heightened with gold on paper, a young Babur is depicted
engaged in ferce battle in a rocky landscape, one panel with 2ll. of black
nastaliq to the top of the composition, laid down within minor gold-speckled
borders on wide margins from the 1608 Farang-i Jahangiri of Jamal al-Din
Husayn Inju, decorated in black-outlined gold with a landscape of fowering
plants inhabited by birds and imaginary creatures, mounted on card with an
old collectors label on the reverse
Painting 9 x 5in. (22.5 x 13.2cm.); folio 13 x 8in. (34.5 x 22.8cm.)
30,000-50,000
$43,000-71,000
39,000-65,000
PROVENANCE:
VARIOUS PROPERTIES
2
THE EMPEROR BABUR CONVERSING WITH HIS SON
MUGHAL INDIA, CIRCA 1630
Pen and ink with opaque pigments on paper, the Mughal Emperor Babur sits in conversation with his son
Humayun, a Quran stand between them and attendants and courtiers around, beyond them a tree-lined
horizon with blossoms and birds, laid down on later green margins with devanagari inscription above
Illustration 7 x 4in. (19.8 x 11.5cm.); folio 13 x 9in. (35 x 23.9cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
PROVENANCE:
In devanagari on the mount, tasbir-e badshahi velayat ka petane ku beta, Picture of the Emperor of the
Realms frst son
INSCRIPTIONS:
3
A CAMEL TRAIN
ATTRIBUTED TO HUSAYN, PROBABLY
ALLAHABAD, MUGHAL INDIA,
CIRCA 1600-1604
Pen and ink on paper, two fgures stand in a
landscape unloading their packs from the back of
a camel, two further camels peek out from behind
rocky outcrops as a further fgure peers out from
behind the curtains of her elaborate saddle, laid
down with a series of gold-speckled coloured
borders, one with large black nastaliq inscription
on gold-speckled pink card, the verso with a panel
of 7ll. of black nastaliq on buf card, laid down
between gold speckled and illuminated blue
and cream borders on wide gold-speckled pink
margins, later owners notes in the margin
Drawing 4 x 2in. (10.4 x 6.1cm.);
folio 14 x 10in. (37.8 x 25.7cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
4
A DECCANI BRONZE CALLIGRAPHIC
DRINKING CUP AND DISH
CENTRAL INDIA, 16TH/17TH CENTURY
The footed bowl of typical form with a slightly
splayed foot and curved sides, the interior with
seven concentric bands of elegant nastaliq
radiating around a central caligraphic roundel,
the exterior engraved with suspended cusped
palmettes, the rim and the foot with bands of
strapwork, the contemporaneous dish possibly
associated but decorated with a similar design of
three concentric nastaliq bands around a central
callligraphic roundel, the rim with a diferent band
of strapwork
Cup 5in. (13cm.) diam; dish 5in. (13.5cm.) diam.
10,000-15,000
$15,000-21,000
13,000-19,000
INSCRIPTIONS:
q5
A QURAN SECTION
SULTANATE INDIA, 15TH OR EARLY 16TH
CENTURY
Quran VI sura al-anam, vv.104-116, Quran LVIII,
sura al-mujadila, v. 7 to Quran LIVII, sura al-mulk,
v. 10, Arabic manuscript on paper, 23f. plus two
fy-leaves, each folio with 6ll. of black-outlined
gold naskh enclosed by text blocks alternated
with 3ll. of gold-outlined blue thuluth, gold
verse markers, gold and polychrome medallion
markers, sura headings in gold naskh within blue
or red cartouches, two illuminated bifolios at the
beginning and end of the section, the margins
restored, occasional water staining, in stamped
brown morocco
Text panel 7 x 5in. (20 x 14 cm.);
folio 11 x 8in. (28 x 21cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
*6
A MUGHAL CARVED JADE CHRYSANTHEMUM BOWL
NORTH INDIA, 18TH CENTURY
Of circular form with curved sides, the interior and the underside of the base both carved with a large
chrysanthemum, the foot cusped, the exterior with three bands of stylised wave patterns bisected by
vertical grooves, the interior of the sides plain, minor white and brown inclusions
8in. (22.6cm.) diam.
20,000-30,000
$29,000-42,000
26,000-39,000
A related 18th century Mughal jade dish was sold in these Rooms, 26 April 2012, lot 300. A slightly
earlier example dated to the second or third quarter of the 17th century with curved foliage but with the
same strong foral design is in the al-Sabah Collection (Manuel Keene and Salam Kaoukji, Treasury of
the World, exhibition catalogue, London, 2001, no.9.21, p.118).
11
7
A PIERCED STEEL PROCESSIONAL STANDARD
(ALAM)
NORTH INDIA, DATED AH 1268/1851-52 AD
Rising from a conical shaft with raised boss to pierced calligraphic
drop-shaped body divided into an inner and outer calligraphic
register, the outer register surrounded by two twisted steel
bars with four stylised dragon-head shaped terminals, the top
terminating in three fronds
28in. (72.3cm.) high
4,000-6,000
$5,700-8,500
5,200-7,700
INSCRIPTIONS:
q9
q8
QURAN
QURAN
Arabic manuscript on paper, 396f. plus 10 fyleaves, each folio with 11ll. of strong naskh with
red Persian translation, in text panels outlined
in gold, blue and black, each line within similar
gold rules, margins with similar outer rules,
catchwords, gold and polychrome verse rounels,
sura headings in white on gold panels, juz and
ashr marked with gold roundels in the margin,
opening bifolio with earlier Safavid illumination
laid around text, in worn red morocco with
stamped borders, green paper doublures
Text panel 7 x 3in. (19.7 x 10cm.);
folio 11 x 6in. (29.4 x 17.5cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
$12,000-17,000
11,000-15,000
INSCRIPTIONS:
10-11 No Lots
13
12
A WATERED-STEEL BLADE, POSSIBLY
FOR AN OFFICER OF AURANGZEB
MUGHAL INDIA, 18TH CENTURY
The steel blade elegantly watered and widening at
tip, each side of the blade with gold-inlaid nastaliq
inscription, the spine with a further line of nastaliq,
some losses to the gold, in leather covered wooden
sheath
37in. (94.2cm.) long
8,000-12,000
$12,000-17,000
11,000-15,000
INSCRIPTIONS:
12 (detail)
12
14
13
14
13
A FIRMAN
SIGNED MUHAMMAD NUR AL-DIN ASNADNIGAR, NORTH INDIA, DATED 15 JUMADA II
AH 1284/14 OCTOBER 1867 AD
Persian manuscript on paper, with 15ll. of black
rounded diwani, 4ll. of which are written diagonally
upside down in the lower right corner, a large red
tughra in Persian outlined in gold at top, black seal
impression with date of AH 1274, seal impression
in devanagari above and inventory mark, the
reverse with inscriptions dated AH 1284
26 x 10in. (67.3 x 27cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
INSCRIPTIONS:
15
14
*15
7,000-10,000
$10,000-14,000
9,100-13,000
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
INSCRIPTIONS:
15 (detail)
15
*16
A TRAVELLER RESCUES A WOUNDED SOLDIER
FROM A BAND OF BRIGANDS
THE PAINTING MUGHAL INDIA, CIRCA 1605, THE CALLIGRAPHY
SIGNED ABD AL-RAHIM AL-HARAWI [ANBARIN QALAM], LAHORE,
DATED AH 1007/1598-99 AD
Pen and opaque pigments on paper, a group gather around a collapsed fgure in a
landscape, a walled city on the horizon, mounted as an album page with various giltheightened foral borders before a wide margin with a repeated gold leaf-motif and
green outer edge, the reverse with a nastaliq quatrain on marbled paper, laid down
between coloured minor borders on wide cream margin with double red outer rule,
Painting 5 x 3in. (14.9 x 8.9cm.); calligraphy 7 x 3in. (18.1 x 8.9cm.); folio 18 x
12in. (47.6 x 31.2cm.)
8,000-12,000
$12,000-17,000
11,000-15,000
This painting is done in the style typical of the late 16th and early 17th centuries,
when artists such as Kesu Das and Basawan were being infuenced by European
prints and paintings. The humanistic concern for true portraiture and individuality
are traits which are typical of Mughal work independent from the Iranian tradition,
and the European infuence provided a new host of subjects, such as this, to which
they could be applied. The artist of our painting probably took a European print of
the Deposition or Lamentation of Christ as his inspiration. A very similar Mughal
drawing is in a private collection (Pratapaditya Pal, Court Paintings of India. 16th-19th
Centuries, New York, 1983, M13, p.130). So close are the two in overall composition
and detail that the artists must both have been looking at the same original print. The
scene there is a mirror image of ours, and the central fgure which must have been
Christ in the original print - is very clearly a wounded solider, with bloody injuries and
his shield strewn before him.
16
The calligraphy on the reverse of this album page is by Abd al-Rahim al-Harawi.
Originally from Herat, he was one of the great master calligraphers at the Mughal
court of Jahangir. It seems he came from a talented family since his grandfather is
mentioned in a note by Shah Jahan as the likely calligrapher of a Diwan in his royal
library. Abd al-Rahim was granted the title, Anbarin Qalam (Amber Pen), by Jahangir
who so admired him that he commissioned Anbarin Qalams portrait to be added
to a copy of Nizamis Khamsa fnished by the calligrapher in 1595 (British Library,
Or.ms.12208).
17
COMPOSITE ELEPHANTS IN COMBAT
MUGHAL INDIA, MID 18TH CENTURY
Pen and ink heightened with gold on paper, two horned demons goad their composite
elephants into combat against a rocky landscape, the elephants composed of multiple
fgures and animals, set within gold illuminated foral border on wide blue margins,
spurious later-added date to the top left hand corner, repaired split to the right-hand
side of the folio, mounted
Drawing 5 x 4in. (14.8 x 11.8cm.); folio 12 x 9in. (31.8 x 24.5cm.)
15,000-20,000
$22,000-28,000
20,000-26,000
The tradition of illustrating composite animals stretches as far back as the early
Buddhist manuscripts of Central Asia. The subject later made its way into Persian
painting and subsequently into the artistic repertoire of Northern and Central India.
A similar combat scene between two composite elephants with horned-demon riders
also attributed to 18th century Mughal India is in the Hermitage (inv. IS-1462; Anatoli
Aleksevich Ivanov,vo dvortsax i v shatrax, islamskiy mir ot kitaya do evropi, exhibition
catalogue, Saint Petersburg, 2008, pl.229, p.276). The comparable drawing in the
Hermitage is much less detailed, but could be a preparatory sketch for our work.
Another painting of a composite elephant dated to circa 1800 was sold in these
Rooms, 26 April 2012, lot 25.
17
16
18
YOUTHS CONVERSING
BY A STREAM AT DUSK
MUGHAL INDIA, LATE 17TH/EARLY
18TH CENTURY, THE BORDERS SIGNED
[MUHAMMAD] BAQIR, IRAN, DATED AH
1181/1767-68 AD
Opaque pigments heightened with gold on paper,
two youths sitting either side of a river as the sun
sets behind them, engage in conversation, one of
them dressed as a dervish, the river bank lined with
brightly coloured fowers, attendants play music and
serve wine, the horizon with a domed temple and an
encampment of ascetics under a brightly coloured
sky, miniature extended at top, set within minor gilt
foral scrolling vine on red ground inside wide signed
polychrome foral margins, mounted on card, reverse
with French export stamp
Painting 11 x 6in. (29.3 x 17.5cm.);
folio 18 x 12in. (46.8 x 31cm.)
40,000-60,000
$57,000-85,000
52,000-77,000
The Album:
It is believed that the Indian paintings from the
album now known as the St. Petersburg Muraqqa
were taken to Iran by Nadir Shah following his
sack of Delhi in 1739. Whilst there, the folios were
all given new borders and almost all backed by
panels of calligraphy by the master calligrapher
Mir Imad. The album was obtained in 1909 by
the Russian Aulic Councillor Ostrogradsky from
Jews in Tehran who had in turn purchased it from
the Royal Library. It was then presented to the
Russian Museum in St. Petersburg (Francesca
von Habsburg et al., The St. Petersburg Muraqqa,
Lugano, 1996, p.20). At that stage the manuscript
contained exactly 100 leaves. In 1912 the
Metropolitan Museum purchased one leaf which
appears to be the earliest provenance on any of
the leaves outside Russia. In 1931 six of the best
folios of all were sold to the Freer Gallery.
(verso)
VARIOUS PROPERTIES
A FOLIO FROM THE ST. PETERSBURG MURAQQA
*19
A PRINCE VISITS A SUFI SHAYKH AT DAWN
THE PAINTING POSSIBLY ATTRIBUTABLE TO
BICHITR, MUGHAL INDIA, MID 17TH CENTURY,
THE CALLIGRAPHY SIGNED IMAD AL-HASSANI,
SAFAVID IRAN, LATE 16TH/EARLY 17TH CENTURY,
THE BORDERS SIGNED MUHAMMAD HADI, IRAN,
DATED AH 1171/1757-58 AD
Opaque pigments heightened with gold on paper, a Prince
and his attendant pay respects to a Suf Shaykh and his
novice at a shrine at dawn, musicians to the left, extended
at top and bottom, within gold and polychrome minor foral
borders, on wide margins with gold landscape scenes
containing a wide variety of animals and European-style
architecture, the calligraphy on the reverse composed of
three panels each with 4ll. of black nastaliq in white clouds
reserved against gold illuminated ground, each panel
signed and bordered by bands of strapwork, the margins
with gold scrolling arabesques issuing large palmettes on
blue ground, signed and dated in the lower left hand corner
Painting 9 x 5in. (24.6 x 14cm.); calligraphy 11 x 8in.
(28 x 20.4cm.); folio 18 x 12in. (47.6 x 32.8cm.)
80,000-120,000
$120,000-170,000
110,000-150,000
The Painting:
This painting may be the work of the Mughal
artist Bichitr, whose work spanned the reigns
of two Mughal Emperors, Jahangir and Shah
Jahan. The animated and expressive faces of the
fgures in our painting are very similar to those
by the artist who was a skilled portraitist. A
painting in the Victoria and Albert Museum,
attributed to 1645 and signed by Bichitr, depicts
a man listening to a singer and musician (Susan
Strong, Painting for the Mughal Emperor. The
Art of the Book 1560-1660, London, 2002,
pl.122. p.159). As in our painting, the musician
in the V composition has his mouth open,
obviously singing rarely otherwise depicted
in Mughal painting. Known normally for his
depictions of imperial deeds and royal portraits,
Amina Okada writes that did occasionally
abandon his grandiose subjects for depictions of
holy men discussing theological issues, as here.
Two folios from the Late Shah Jahan Album, one
in the Muse Guimet and the other in the San
Diego Museum of Art, again show him toying
with this theme (Amina Okada, Imperial Mughal
Painters, Paris, 1992, no.205 and 207, pp.171-72).
The Borders:
Three artists were known to work on the
decoration and composition of the album in the
mid-18th century - Muhammad Hadi, Muhammad
Baqir and Muhammad Sadiq. Most of the work of
decorating the album was done by Muhammad
Hadi, the artist who signed the gold illuminated
margins of the calligraphic side of our folio. In his
discussion on the compilation and decoration of
the album, Anatol Ivanov writes that Hadi only
decorated the margins around the calligraphic
specimens (Francesca von Habsburg, et al.,
op.cit. Lugano, 1996, p.26). Although little is
known of the life and work of Muhammad Hadi,
research done by B.W. Robinson confrms that
he was seen in Shiraz on the 10th September
1821 by the English traveller Claudius Rich
who described him as a very old man who no
longer practiced his art (B.W. Robinson, Persian
Miniatures from Collections in the British Isles,
(recto)
Y*20
A RARE GEMSET JADE HILTED DAGGER
MUGHAL INDIA, 17TH CENTURY
The slightly recurved watered-steel double-edged blade
damascened with gold foliage on one side at the forte, the
pale green jade hilt with swelling grip, and pronounced
pommel, knuckle-guard with pierced and carved leaf
and bud-shaped fnial, inlaid overall with engraved gold
fowers set with emerald and ruby leaves, the fowerheads
formed from pav set emeralds and rubies, the grip
with two gold bands set with rubies, in original leather
covered wooden scabbard retaining some of its original
polychrome painted decoration en suite with the hilt, the
original pale green jade locket jewelled en suite with the
hilt, one stone missing
14in. (35.7cm.) long
80,000-120,000
$120,000-170,000
110,000-150,000
21
21 (actual size)
22 (actual size)
VARIOUS PROPERTIES
22
21
A MUGHAL CARVED CELADON JADE HILT
Of typical pistol-grip form, the surface fnely engraved with a rosette to either
side of the pommel from which spring further foral sprays, a third rosette at
the top issuing a leaf down the spine and towards the front, the base similarly
engraved beneath a pronounced collar, three small holes to pommel, probably
once inset, on perspex stand
5in. (12.7cm.) high
6,000-8,000
22
$8,500-11,000
7,800-10,000
4,000-6,000
$5,700-8,500
5,200-7,700
23 (actual size)
23
A MUGHAL CARVED JADE HILT
NORTH INDIA, 18TH CENTURY
Of typical pistol-grip form, the surface fnely engraved with a rosette to either
side of the pommel from which spring further foral sprays, a third rosette at
the top issuing a leaf down the spine and to the front, on perspex stand
4in. (10.2cm.) high
4,000-6,000
$5,700-8,500
5,200-7,700
*24
A MUGHAL JADE-HILTED DAGGER (KHANJAR)
NORTH INDIA, 18TH CENTURY
The celadon jade hilt of curved pistol-grip form with a carved round pommel
supported by curving leaves, the pommel engraved with a leaf lattice, the
grip with elegant foral sprays, the forte with curved terminals, slight losses,
the associated watered-steel curved blade with sharpened edges and slight
medial ridge, in cloth covered sheath with traces of green velvet and metal
thread seam
14in. (36.8cm.) long
5,000-7,000
$7,100-9,900
6,500-9,000
24
23
Y 25
A GOLD-DAMASCENED STEEL SHIELD
NORTH INDIA, 19TH CENTURY
Of rounded slightly domed form with raised rim,
with four ruby and hardstone-inset rosette bosses,
the central feld with a gold-damascened scrolling
lattice surrounding a slightly rubbed animated sun,
surrounded by borders of scrolling fowers and
strapwork, the reverse padded and covered in silk
with a pair of silk padded rings at the centre
17in. (43.5cm.) diam.
3,000-5,000
$4,300-7,100
3,900-6,500
26
A PORTRAIT OF MUGHAL EMPEROR
AKBAR SHAH II (R.1806-1828)
DELHI, NORTH INDIA, EARLY 19TH CENTURY
Opaque pigments heightened with gold on paper,
the nimbate Akbar Shah II depicted as a young
man seated on a throne on a terrace, lines of gold
cartouches above divided into three columns, one
containing the identifcation inscription in black
nastaliq, mounted, margins with scrolling vine
bordered by gold and red rules, the reverse with
a French export stamp, mounted, framed and
glazed
Painting 6 x 4in. (17 x 11cm.);
folio 10 x 6in. (26.7 x 17.2cm.)
25
5,000-7,000
$7,100-9,900
6,500-9,000
27
A PORTRAIT OF MUGHAL EMPEROR
SHAH ALAM II (R.1760-1806)
DELHI, NORTH INDIA, EARLY 19TH CENTURY
Opaque pigments heightened with gold on paper,
the nimbate Shah Alam II depicted seated on a
throne on a terrace, 3ll. of gold cartouches above
divided into three columns containing black
nastaliq inscriptions, one with identifcation
inscription, margins with scrolling vine bordered
by gold and red rules, reverse with French export
stamp, mounted, framed and glazed
Painting 6 x 4in. (17 x 11cm.);
folio 10 x 6in. (26.7 x 17.2cm.)
5,000-7,000
$7,100-9,900
6,500-9,000
24
*28
*29
$5,700-8,500
5,200-7,700
$7,100-9,900
6,500-9,000
26
27
28
29
30
A FINELY DECORATED SWORD (TULWAR)
THE BLADE SIGNED ASSADULLAH ISFAHANI,
SAFAVID IRAN, 17TH CENTURY, THE HILT NORTH INDIA,
17TH CENTURY
With curved single-edged blade, the forte with an engraved
cusped medallion followed by two gold-inlaid cusped
calligraphic cartouches, one containing the signature of the
maker, the blunt edge of the forte engraved with the inventory
number 35, the hilt with fne raised gold foral decoration,
the raised knop on top of the pommel with an elegant hinged
openwork belt hook, in brown velvet-covered wooden sheath
with metal thread seams and gilt copper fttings
39in. (99cm.) long.
15,000-25,000
$22,000-35,000
20,000-32,000
INSCRIPTIONS:
30 (detail)
31
A GOLD AND SILVER-INLAID SWORD (TULWAR)
NORTH INDIA, 19TH CENTURY
With European curved single-edged blade tapering to a fne double-edged
point, the spine engraves at the forte in devanagri, and with the number 57, the
hilt of typical form and decorated with pronounced silver lotuses on a ground
of gold-damascened scrolling arabesques, the top of the hilt with an elegant
openwork hinged hook, in velvet covered wooden sheath with matching gold
and silver fttings and metal thread seams
36in. (92cm.) long
8,000-12,000
$12,000-17,000
11,000-15,000
INSCRIPTIONS:
Along the blunt end of the forte in devanagri, Be peaceful two hundred times,
dear lord of the twice-born, marked with the Vedas, earth-shatterer....
30
The elegant raised foral decoration of the hilt is similar to the fttings found
on the scabbard of a sword in the Jaipur Royal Collection which Robert
Elgood dates to the third quarter of the 19th century (Robert Elgood, Arms
& Armour at the Royal Jaipur Court: The Royal Collection, Delhi, 2015, no.97,
pp.142-143). The Jaipur sword carries a trishul monogram of Maharaja Sawai
Ram Singh II of Jaipur (r.1835-80). Another hilt which has similar raised foral
decoration is attributed by Robert Hales to the early 19th century (Robert
Hales, Islamic and Oriental Arms and Armour: A Lifetimes Passion, 2013, no.
442, p.186).
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
*32
AN ELEGANT CALLIGRAPHIC GOLD-DAMASCENED SWORD (TULWAR) HILT
CENTRAL INDIA, 18TH CENTURY
The tulwar hilt of typical form with a curved knuckle-guard terminating in a makara head,
the cross-guard terminals in the form of cusped palmettes, the hilt decorated with golddamascened naskh set within strapwork borders, the pommel with an elegant dome-shaped
fnial with an openwork skirt, associated steel blade
Hilt 8in. (20.3cm.) long; with blade 37in. (94cm.) long
3,000-5,000
$4,300-7,100
3,900-6,500
INSCRIPTIONS:
31
32
27
*33
A PAIR OF LARGE CEREMONIAL GILTCOPPER FLY WHISKS (CHAUR SAHIBS)
NORTH INDIA, 19TH CENTURY
Each with a slightly tapering shaft with a knop
fnial and bulbous head in the form of a lotus
fower bud, the top of the head with a metal and
cotton thread lattice which issues a large plume
of cream coloured horse or yak hair wound around
an extended shaft with a wooden terminal, each
mounted on brushed steel stand
Each 25in. (63.5cm.) high
5,000-7,000
$7,100-9,900
6,500-9,000
Y34
A GEMSET AND ENAMELLED GOLD
SWORD (TULWAR) HILT
MADE FOR THE RAJA OF NABHA STATE,
NORTH INDIA, SECOND HALF 19TH
CENTURY
Of typical form with upper suspension loop
with seed-pearl skirt, the ground of blue enamel
decorated with diamonds and rubies in gold
mounts forming rosettes and foral sprays, the
hand guard with tiger head fnial, the interior with
Gurmukhi and Latin inscription, with original
similarly decorated locket with cusped terminal
decorated with green ground bird and fower
design, minor losses to the enamel
11in. (28cm.) long
(2)
40,000-60,000
$57,000-85,000
52,000-77,000
INSCRIPTIONS:
28
33
34 (back)
34 (front)
29
36
Y35
Y*36
5,000-7,000
$7,100-9,900
6,500-9,000
4,000-6,000
35
$5,700-8,500
5,200-7,700
Y*37
AN ENAMELLED AND GEMSET GOLD NECKLACE
NORTH INDIA, SECOND HALF 19TH CENTURY
The chain formed of diamond-set lattice panels with emeralds
and rubies suspended from either side, the segments strung
between strings of emeralds and rubies, a large cusped
pendant at the centre with a smaller pendant below, each
pendant set with diamonds, the larger one with addorsed
peacocks fanking a central rosette, both with skirts of rubies
and emeralds, the reverse with polychrome enamel decoration,
the larger pendant with a hallmark stamp, attachment string
10in. (26.8cm.) long
6,000-8,000
37
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
Y*38
A PAIR OF ENAMELLED AND GEMSET GOLD
BRACELETS
JAIPUR, NORTH INDIA, SECOND HALF 19TH CENTURY
The shaft of each of triangular-section with a hinged quartersection released by a screw, the interior decorated with a
polychrome enamel foral design, the exterior decorated with
alternating inset rubies and emeralds, in velvet-lined ftted box
Each 3in. (8.3cm.) diam.
(2)
15,000-20,000
$22,000-28,000
20,000-26,000
31
39
A GILT COPPER MOUNTED SWORD
(SHAMSHIR)
PROBABLY KUTCH, NORTH INDIA, 19TH
CENTURY
The gently curving blade with silver inlaid
cartouches towards the top, one side containing a
foral lattice, the other with a lively hunting scene,
the hilt and sheath of gilt copper, the hilt decorated
with a series of diagonal facets and terminating in
a stylised lions head, the quillions engraved with
foral motifs, the sheath decorated in repouss
with an elegant animated design of fgures, some
mounted on horseback or elephants, hunting
gazelles and wild boar, the fgures surrounded by
foral scrolls, with two attachment loops afixed
to the sheath through pronounced stylised lions
heads, one loop a later replacement, sheath
repaired
35in. (89.5cm.) long
10,000-15,000
$15,000-21,000
13,000-19,000
40
A STEEL DAGGER WITH TIGER-HEADED
HILT (KARD)
NORTH INDIA, 19TH CENTURY
The single-edged steel blade tapering to fne
point, each side with three indented roundels, with
foral gold overlaid decoration along the spine and
at the forte, the grip with similar gold strapwork
bands, the pommel in the form of a tigers head
with hardstone-inset eyes and forehead, the
tongue articulated, traces of silver on the head
14in. (36.8cm.) long
4,000-6,000
$5,700-8,500
5,200-7,700
39
40
32
*41
AN ENAMELLED AND GEMSET HANDLE
JAIPUR, NORTH INDIA, 19TH CENTURY
The handle terminating in a realistically rendered tiger head, the ears and forehead set with
diamonds and the articulated tongue formed of a ruby, the shaft covered with blue enamel and
decorated with a fowering gold vine picked out in diamonds, the base of the shaft with diamonds set
in green enamel, in velvet-covered ftted box
7in. (19cm.) long
4,500-6,500
$6,400-9,200
5,900-8,400
VARIOUS PROPERTIES
42
A GOLD OVERLAID PUSH DAGGER (KATAR)
PROBABLY BUNDI, RAJASTHAN, INDIA, 19TH CENTURY
The triangular watered-steel blade of typical form with armour-piercing tip and pronounced medial
ridge, the hilt with gold overlaid hunting scenes featuring Rajput fgures holding rifes, practising
falconry and riding on elephants, the double grips with further hunting scenes, the upper and lower
edges of the hilt with scrolling vine, the forte with a gold cusped palmette
17in. (43cm.) long
8,000-12,000
$12,000-17,000
11,000-15,000
A closely related katar with similar detailed hunting scenes is in the Jaipur Royal Collection,
catalogued as probably Bundi, 19th century (Robert Elgood, Arms & Armour at the Royal Jaipur
Court: The Royal Collection, Delhi, 2015, no.64, pp.88-9).
41
42
43
AN ENAMELLED SILVER ROSEWATER
SPRINKLER (GULABDAN)
LUCKNOW, NORTH INDIA, FIRST HALF 19TH
CENTURY
Rising from trumpet foot to rounded body with
cusped stepped shoulder, tapering to fne neck
with pronounced ring decorated with suspended
pendants, the upper part of the neck faceted with
pronounced head formed of a series of moulded
fowerheads making up the spout, a skirt of fsh
pendants hanging below, the surface decorated
in blue, green and turquoise enamel with a dense
foral pattern
12in. (31.8cm.) high
3,000-5,000
$4,300-7,100
3,900-6,500
44
44
A SILVER-GILT AND ENAMELLED HUQQA
BASE
LUCKNOW, NORTH INDIA, FIRST HALF 19TH
CENTURY
Of bell-shape with a wide spreading base
tapering before faring cylindrical mouth, the
surface engraved and decorated with polychrome
enamels with a paradisiacal landscape populated
by a variety of birds, animals and architectural
elements, a foral band with large rosettes around
the foot and shoulder, these bands bordered above
and below by cruciform motifs on blue ground
6in. (17.5cm.) high; 8in. (20.5cm.) diam. at base
6,000-8,000
43
34
$8,500-11,000
7,800-10,000
45 (recto)
*45
AN ALBUM PAGE
THE PAINTING PROBABLY FAIZABAD OR FARRUKHABAD, LAST
QUARTER 18TH CENTUTY, THE CALLIGRAPHY SAFAVID TABRIZ,
DATED AH 942/1535-36 AD
Opaque pigments heightened with gold on paper, the painting with a nimbate
ruler seated under a canopy surrounded by female attendants and musicians,
gold foral borders, the reverse with four nastaliq couplets contained in a
central panel, dated in the lower left hand corner, the border with further
couplets, gold and polychrome illumination, within blue gold-speckled borders
Painting 8 x 12in. (21 x 30.5cm.); calligraphy 8 x 6in. (22.2 x 15.2cm.);
folio 15 x 10in. (38.8 x 27cm.)
15,000-20,000
$22,000-28,000
20,000-26,000
A similar scene with a ruler on a terrace is in the Chester Beatty Library. That
is attributed to Sital Das and dated by Linda Leach to circa 1775 (Linda York
Leach, Mughal and other Indian Paintings from the Chester Beatty Library,
vol.I, London, 1995, fg.6.364, p.706).
45 (verso)
35
46
A FINE CHINTZ PALAMPORE
COROMANDEL COAST, EAST INDIA, FIRST HALF 18TH CENTURY
A mordant-painted and resist-dyed cotton palampore with an elegant treeof-life design with sinuously twisting and intertwining tree trunks rising from
the apex of a triangular mound, the tree with a dense lattice of branches from
which sprout exotic fowers, serrated leaves and pomegranates, the base
of the trunk fanked by herons, smaller birds inhabit the foliage above, set
within scrolling foral borders bordered on either side by fne bands of curved
vine, backed, velcro strip along the upper edge
126 x 86in. (320 x 218.5cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
Palampores are large chintzes, which were laid on a bed or hung behind
it. The word palampore is an Anglicisation of palang-posh or bedcover,
which describes the principal use of these export cloths. Painted and
printed cloths with a fowering tree or large-scale foral design were in
demand both in Europe and in Asia, where they circulated in Indonesia in
the eighteenth century and later. Our palampore was probably produced
for the Asian market. The fller motifs on this palampore relate to those
seen on Japanese painted and stencilled cottons or north-coast Javanese
batik designs. These stylistic links to centres famous for the production
of resist-painted and printed cottons refect the artistic interchange
through trade routes, and the idea of textiles being commissioned for
export. It was probably the Dutch that introduced Japanese patterns to the
Coromandel Coast as they maintained a monopoly on trade with Japan
in the 17th and 18th centuries. The Dutch also played a signifcant role
in the dissemination of Indian motifs through trade with the Indonesian
archipelago.
A related palampore, for the Sri Lankan market, is in the Metropolitan
Museum (Amelia Peck, Interwoven Globe. The Worldwide Textile Trade,
1500-1800, exhibition catalogue, New York, 2014, no.37, p.187). That is
dated to the frst quarter of the 18th century. Another, dated circa 1725-50
and with a similar though bifurcated mound is in the Victoria and Albert
Museum in London (IS.36-1950; Rosemary Crill, Chintz: Indian Textiles for
the West, 2008, pl.9, p.43).
46
*47
A COPPER-HEADED TRINKET SNAKE
(COELOGNATHUS RADIATUS)
CIRCLE OF BHAWANI DAS, CALCUTTA,
CIRCA 1778-82
Opaque pigments with ink on paper watermarked
with Strasbourg Band with initials GR and
countermarked J Whatman with the W crossed,
the small brightly coloured head with dark
markings on the upper part of the body slowly
fading into the copper ground, trimmed around the
edges, latter added margins, light fold mark to the
middle, mounted, framed and glazed
Painting 21 x 17in. (53.8 x 44.8cm.);
folio 25 x 21in. (65.5 x 53.4cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
PROVENANCE:
36
47
48
~48
A MUGHAL IVORY-INLAID WOODEN
CABINET
NORTH WEST INDIA, LATE 17TH CENTURY
Of rectangular form with fall-front concealing eight
drawers, each surface of the box decorated with a
central panel of large ivory-inlaid foral sprays within
a minor geometric border, around this a wider border
of rosettes on ivory ground, each of the drawers with
similar foral motifs within chequered borders and
painted ivory knobs, locks a later replacement
11 x 9 x 7in. (30 x 23.3 x 20cm.)
12,000-18,000
$17,000-25,000
16,000-23,000
48 (interior)
q 49
$15,000-21,000
13,000-19,000
Also known as Tawdih al-tadhkira, this text is a commentary on Nasir al-Din Tusis Tadhkira (Memoirs)
composed in AH 711. Rosenfeld and Ihsanoglu list at least four copies of the commentary with similar
titles, see, Mathematicians, Astronomers and Other Scholars of Islamic Civilisation and their works (7th19th ), Istanbul, 2003, p.818. The preface of this manuscript states that the commentary consists of
four babs, the sky, astronomy, the earth and the heavenly bodies. For a list of the works of Tusi see C.
Brockelmann, Geschichte der Arabischen Litteratur, Leiden, 1996, I.670-676; S. I, 924-933.
Because of the importance of Tusis scholarship, many commentaries on his works have been written.
One possibility for the author of ours is Nizam al-Din al-Hasan bin Muhammad bin Husayn al-Araj
al-Qumi al-Nishapuri, known as Nizam Nishapuri. Probably born in Qum in northern Iran, he studied
in Nishapur and was a mathematician and astronomer. He worked in the observatory of al-Shirazi in
Tabriz under the Ilkhanid rulers Ghazan Khan (r. 1295-1304 AD) and Uljaytu (r. 1304-1317 AD). Another
commentary on Tusi by Nishapuri was sold at Christies, South Kensington, 10 October 2014, lot 311.
38
50
A CELESTIAL GLOBE
ATTRIBUTED TO DIYA AL-DIN MUHAMMAD BIN QAIM MUHAMMAD BIN MULLA ISA BIN
SHAYKH ALLADAD ASTURLABI HUMAYUNI LAHURI, LAHORE, CIRCA 1660
The seamless cast sphere engraved with graduations of the ecliptic numbered in 30 intervals, every
degree indicated by a solid line and every ffth degree by a dotted line, celestial equator divided by single
degrees with every ffth indicated by a dotted line, fve degree intervals numbered continuously from vernal
equinox, engraved with a full set of constellation fgures, lower parts of Centaurus and Argo now lacking,
the globe set with about 1018 silver stars in diferent sizes corresponding to six magnitudes of stars, each
constellation labelled and given a number within either the northern or southern constellation, major stars
also named, zodiac names engraved along ecliptic, a large rectangular plug at top through which is drilled
the north celestial pole, smaller plugs of diferent alloy near Piscis Austrinus, small section by south polar
area and a few stars now lacking
5in. (13cm.) diam.
100,000-150,000
$150,000-210,000
130,000-190,000
39
41
51
q 51
$7,100-11,000
6,500-10,000
q 53
q 52
$10,000-14,000
9,100-13,000
$10,000-14,000
9,100-13,000
52
53
43
This fnely engraved astrolabe very closely resembles another signed by the
same maker, dated to circa 1660, now in the Museum of the History of Science
in Oxford (inv.46886; http:/www.mhs.ox.ac.uk/collections/imu-search-page/
record-details/?TitInventoryNo=46886=feld=on=1665). The position and
the wording of the signature is identical on both astrolabes. The retes with
their elegant cusped arabesque pointers and the calligraphy on the plates are
remarkably similar. J.A.Billmeir, a renowned collector of scientifc instruments,
wrote of another astrolabe signed by Muhammad Mehdi , In spite of the
most elaborate ornamentation the mathematical accuracy of the engraving is
unimpaired.(Scientifc Instruments (13th-19th Century): The Collection of J. A.
Billmeir Esq., Frank Patridge & Sons, London, 1954, no.5, p.11).
The Oxford astrolabe has a very similar compass inserted into the throne
which again looks to have been made by the same hand as the one found on
our astrolabe. Whilst the compass on our astrolabe is set with an engraved
border suggesting that it was part of the original design of the throne, the
Oxford one looks to be less in harmony with its decorative surroundings.
During the 17th century however there was a fashion in Iran for incorporating
foreign instruments into astrolabes. It is therefore possible that the compass in
our astrolabe was in fact inserted in Iran at the time of manufacture.
Another distinct similarity between our astrolabe and that in Oxford is that
both have identical brown ropes attached. It is possible that the ropes were
added in the workshop where both astrolabes were produced. It is also
possible that the rope was added later when the astrolabes had arrived
in Europe, and thus that they were sold to the same original owner after
their production. The Oxford astrolabe is recorded as having come from
the collection of M. Chadenat, who added it to his collection of scientifc
instruments sometime before the middle of the 20th century. It then passed
into the Billmeir Collection, from whence it was donated to the Museum in
Oxford. It is possible that our astrolabe at one stage passed through the hands
of one or both of these collectors. Another astrolabe signed by Muhammad
Mehdi al-Yazdi which is dated AH 1070/1659-60 AD and also has a compass
inserted into the throne, is in the collection of the Royal Museums Greenwich
(inv.AST0594, http:/collections.rmg.co.uk/collections/objects/10756.html).
A further astrolabe signed by the same maker but with a later associated rete
was sold at Sothebys London, 6 October 2010, lot 150.
54
A FINE SAFAVID BRASS ASTROLABE
SIGNED MUHAMMAD MEHDI AL-YAZDI, IRAN, CIRCA 1660
The brass mater with throne decorated with calligraphic cartouche,
suspension shackle above, the reverse with possibly added compass, the rim
graduated 0-360 by 1 with larger markings every 5, with six plates elegantly
engraved on both sides each bearing stereographic projections except for
one marked with hours for prayer and another with markings for the zodiac,
all with inscriptions in elegant naskh and nastaliq occasionally on ground of
elegant scrolling vine, altitude circles every six degrees, azimuth arcs every ten
degrees, the rete with 31 named star pointers, the reverse of the mater with
shadow square and projection for unequal hours and a quadrant with further
projections, the probably original graduated alidade with two holed sighting
vanes, the edge with further elegantly engraved naskh inscription, with brown
rope cord attached
4in. (12.1cm.) high (excluding shackle); 3in. (9.3cm.) diam.
70,000-100,000
$100,000-140,000
91,000-130,000
INSCRIPTIONS:
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN 45
q 55
55
q 56
$7,100-9,900
6,500-9,000
56
46
$4,300-7,100
3,900-6,500
q 57
$4,300-7,100
3,900-6,500
q 58
57
$7,100-9,900
6,500-9,000
INSCRIPTIONS:
58
47
59
A BRASS ASTROLABE
MOROCCO, LATE 17TH OR EARLY 18TH CENTURY
The brass mater with simple throne and suspension shackle, the rim graduated to 0-360 by 1 with larger markings every 5, with three plates all engraved on
both sides each bearing stereographic projections for various latitudes and engraved with inscriptions in maghribi script, the possibly associated rete with 21
named star pointers, the reverse of the mater with shadow square and projection for equal hours and a planetary table, the alidade with two holed sighting vanes,
the horse in the form of a small bird
4in. (11.2cm.) diam.
20,000-30,000
$29,000-42,000
26,000-39,000
The three plates are engraved with astrolabic markings for latitudes circa 22, 29, 30, 32, 34, 38. In this case 22 would serve Mecca, 30 would be for
Cairo, 32 would be for Marrakesh, and 38 for Fez and Meknes. The rete though probably associated has been paired with this astrolabe for a considerable
amount of time. This is confrmed by the fact that one of the plates retains a shadow from a broken point of a star pointer.
The throne of this astrolabe as well as the double-ended alidade relate closely to an astrolabe signed by Abdullah ibn Sasi which is dated AH 1099/1687-88
AD now in the Museum of the History of Science in Oxford, (inv.45220; http:/www.mhs.ox.ac.uk/collections/search/displayrecord/?invnumber=45220). It is
also interesting to note that, like ours, the rete of the Oxford astrolabe is of a diferent metal alloy colour and is engraved with calligraphy which difers in style
from the rest of the astrolabe. It is therefore likely that the rete of our astrolabe, also diferent in colour, may be original. A similar maghrebi astrolabe recently
sold in Paris, Tessier & Sarrou, 29 June 2015, lot 155.
48
q 60
$8,500-11,000
7,800-10,000
60
q 61
$7,100-9,900
6,500-9,000
61
62
A PINK QURAN PAGE
ANDALUSIA, 13TH CENTURY
Quran XXXIII, sura al-ahzab, middle of v.72 to beginning of Quran XXXIV,
sura saba, Arabic manuscript on pink paper, with 5ll. of bold sepia maghribi,
gold diacritics outlined in black, shadda and sukkun in green, gold verse
roundels with polychrome abjad counters, verso with a gold and polychrome
sura heading with 2ll. of kufc set inside a gilt strapwork cartouche issuing gilt
marginal medallion, upper margin with pounced library mark
Folio 12 x 9in. (30.4 x 23.3cm.)
14,000-18,000
50
$20,000-25,000
19,000-23,000
q 63
$15,000-21,000
13,000-19,000
A closely related Quran fragment with the same distinctive gold sura headings followed by large black
bismillahs in the Khalili Collection, dated to the 12th century (Franois Droche, The Abbasid Tradition,
Oxford, 1992, cat.87, pp.168-69). Two folios from a slightly earlier eastern kufc Quran were sold at
Christies South Kensington, 10 October 2014, lot 255. A near complete eastern kufc Quran was sold in
these Rooms, 6 October 2011, lot 45.
51
64
64
65
4,000-6,000
$5,700-8,500
5,200-7,700
5,000-7,000
A single folio from this Quran was sold at
Christies South Kensington, 5 October 2012,
lot 546.
65
$7,100-9,900
6,500-9,000
66
A KUFIC QURAN FOLIO
NEAR EAST OR NORTH AFRICA, 8TH/9TH
CENTURY
Quran LXXII, sura al-jinn, middle of v.26 to Quran
LXXIII, sura al-muzammil, end of v.20, Arabic
manuscript on vellum, with 17ll. of neat sepia kufc,
verses marked with pyramids of gold roundels, khams
marked with a gold and polychrome square device, red
diacritics, one sura heading with gold and polychrome
band extending into a leafy marginal medallion, some
holing, hair side rubbed, folio trimmed
Folio 7 x 10in. (19.9 x 26.1cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
66
67
A KUFIC QURAN FOLIO
NEAR EAST OR NORTH AFRICA, 8TH/9TH
CENTURY
Quran III, sura al-imran, middle of v.9 to end of v.20,
Arabic manuscript on vellum, with 17ll. of neat sepia
kufc, verses marked with pyramids of gold roundels,
khams marked with a gold and polychrome square
device, red diacritics, some holing, hair side rubbed
Folio 8 x 11in. (20.6 x 28.2cm.)
2,000-3,000
$2,900-4,200
2,600-3,900
67
53
68 (actual size)
69 (actual size)
*68
A GOLD FILIGREE FELINE
IRAN, 12TH CENTURY
The body executed completely in fligree, one side with openwork rosettes
punctuated with granulation, the other side with holes for gems, one still
containing a ruby, the head with pronounced ears, a granular collar around the
neck, large apertures for the eyes and nose, later curling tail, head possibly
originally hinged with pin and loops on the rear of the neck
2in. (5.1cm.) long
10,000-15,000
$15,000-21,000
13,000-19,000
*69
A GOLD FILIGREE BIRD
IRAN, 12TH CENTURY
PROVENANCE:
The bird perched on two drilled rubies, the body with elegant wings and
the breast with a rosette motif formed of granular knops, the fan of the tail
composed of three drop-shaped terminals, the beak with attached chain and
suspended ruby bead, the back with the remains of an attachment loop
1in. (3.8cm.) long
10,000-15,000
$15,000-21,000
13,000-19,000
PROVENANCE:
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
q70
$43,000-71,000
39,000-65,000
PROVENANCE:
Collection Xavier Guerrand-Herms, sold Sothebys Paris, 18 November 2013, lot 138
Another Ilkhanid Quran juz with a similar illuminated headings was sold in these Rooms, 6 October
2011, lot 95. Our manuscript is unusual for the single large line of text which runs through the text
panel on the opening illuminated bifolio. A slightly earlier related juz in the Khalili Collection attributed
to North West Iran, circa 1175-1225, has similar strapwork borders around the opening text panel as
can be seen on either side of the text on our opening bifolio (David James, The Master Scribes, London,
1992, no.5, pp.34-37). David James associates the format and presence of the strapwork borders with
manuscript production in the later Ilkhanid period.
55
71
72
q71
$15,000-21,000
13,000-19,000
73 (actual size)
*73
AN IMPRESSIVE PAIR OF GOLD EARRINGS
PROBABLY NORTH EAST IRAN OR AFGHANISTAN, 11TH/12TH CENTURY
Each with a large triangular section crescent formed of an inner smooth face and two external faces of
roundels containing stylised openwork wire palmettes, two birds of similar construction facing each other
within the crescent, the leading edge of the crescent with seven applied protruding granulated rosettes,
fve further rosettes on the external face of the crescent, later applied suspension loop, very slight denting
2in. (5.4cm.) across
25,000-35,000
$36,000-50,000
33,000-45,000
q72
PROVENANCE:
$8,500-11,000
7,800-10,000
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
74
A SILK SAMITE PANEL
SOGDIA, CENTRAL ASIA, LATE 7TH/EARLY 8TH CENTURY
Woven in golden yellow, blue and red with two bands of roundels each containing a pair of confronted birds
perching upon a split palmette and surrounded by small quatrefoil rosettes within a dotted arcade, the
interstices with large rosettes containing eight-pointed stars, mounted and stretched
Panel 16 x 24in. (41.3 x 36.2cm.); mount 18 x 26in. (47.3 x 68.4cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
PROVENANCE:
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
75
A KHORASSAN SILVER AND COPPER-INLAID BRASS CASKET
NORTH EAST IRAN, 13TH CENTURY
Of slightly tapering rectangular form on bracket feet, the hinged pyramidal
cover with tulip-shaped knop, the exterior with a series of arched panels
decorated with continuous silver knotted repeats, the interstices flled with
scrolling tendrils and bird roundels, the feet with scrolling arabesques, the
cover with a band of benedictory naskh around the edge, the sides with similar
decoration to the base, the reverse with a panel depicting two human fgures,
four panels with running animals below the knop, very slight loss of inlay
6in. (16.5cm.) high
10,000-15,000
$15,000-21,000
13,000-19,000
PROVENANCE:
Around the lid, al-dawala wala, al-salama al-sirr , wa al-izz wa al-dawla ... al-izz
, al-dawla ...
A number of similar caskets to ours have been published. They have tapering
sides on four feet pointing outwards from each corner, with fattened
pyramidal lids. They are decorated predominantly with scenes of seated
fgures similar to those in cusped arch on the lid of our casket.
59
VARIOUS PROPERTIES
q76
$15,000-21,000
13,000-19,000
76
q77
$4,300-7,100
3,900-6,500
77
q78
ABU ABDULLAH MUHAMMAD BIN ISMAIL AL-BUKHARI ALJUFI (D. AH 256/870-71 AD): AL-JAMI AL-SAHIH
MAMLUK SYRIA OR PALESTINE, LATE 14TH/EARLY 15TH CENTURY
Comprising volumes V and VI of the great canonical collection of traditions,
Arabic manuscript on white and pink paper, 199f. each with 21ll. of strong
black naskh, important words and headings picked out in larger naskh,
occasional marginal notes in red or black, opening folio with the title written
in thuluth on a red hatched ground, in later worn red morocco with central
stamped medallion, paper covered doublures
Folio 10 x 7in. (26.5 x 18.8cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
The author of this text was born in Bukhara in AH 1910 AD. After making
the pilgrimage to Mecca travelled extensively in search of Traditions of
the Prophet. He was able to compile 7,397 out of 600,000 traditions in his
monumental work, al-Jami al-Sahih. Other copies of the work are published
in U. Lyons, Chester Beatty Library: A Handlist of the Arabic manuscript,
Dublin, 1966, volume VIII, Indexes, p.15; A. Mingana, Catalogue of the Arabic
Manuscripts in the John Rylands Library, Manchester, 1934, pp.205-09 and P.
Stocks and C. Baker, Subject-Guide to the Arabic Manuscripts in the British
Library, London, 2001, pp.30-31, B.
78
79
THE ARCHANGEL GABRIEL
PROBABLY JALAYRID BAGHDAD,
LATE 14TH/EARLY 15TH
CENTURY
An illustration from the Wonders of
Creation of Qazvini, opaque pigment
heightened with gold on paper, the
angel stands with wings outstretched
and hands holding the mantle of its
colourful robes, within narrow black
and gold border, verso with 9ll. of neat
nastaliq, glazed, numerous owners
notes to the reverse of the frame
Painting 4 x 4in. (10.3 x 10.5cm.);
folio 5 x 5in. (12.8 x 13.2cm.)
15,000-25,000
$22,000-35,000
20,000-32,000
PROVENANCE:
79
61
q 80
$120,000-170,000
110,000-150,000
INSCRIPTIONS:
81
81
A TIMURID TINNED-COPPER DISH (TABAQ)
KHORASSAN, NORTH EAST IRAN, LAST QUARTER 15TH CENTURY
On short straight foot, with slightly everted rim, the surface engraved with a large-scale
arabesque pattern reserved against hatched ground that radiates around a central
rosette, the rim with a band of strapwork
7in. (18.4cm.) diam.
5,000-7,000
$7,100-9,900
6,500-9,000
A very similar dish is in the Hermitage Museum (VS-315; Linda Komarof, The Golden
Dish of Heaven: Metalwork of Timurid Iran, New York, 1992, no.24, pp.204-07). In
her description of that dish, Komarof likens the design to that found on tiles used in
Timurid architectural decoration, datable to the mid-15th century (see for instance
a tile in the David Collection, Kjeld von Folsach, Art from the World of Islam in the
David Collection, Copenhagen, 2001, pl.226, p.174). Tiles of that design are known to
have been used in the Ghiyathiyya Madras in Khargird, suggesting a similar area of
manufacture for our dish.
~82
A TIMURID OR SAFAVID PAINTED LEATHER PURSE
IRAN, 15TH/16TH CENTURY
Of fat rounded form with elaborate cusped cover over the upper aperture, the dark
surface painted in gold with scrolling vine around two confronted deer, the reverse and
fap with similar designs, suspension strand above with stained ivory fnial, some rubbing
14in. (37.5cm.) high
5,000-7,000
82
$7,100-9,900
6,500-9,000
A carbon date (C14) test on a sample from this purse, performed by RCD Lockinge (ref.
RCD-8496) gives a result consistent with the proposed dating.
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
q 83
$57,000-85,000
52,000-77,000
The Tashrih-i Mansuri, as this text is known, was dedicated by the author to
Timurs grandson, Ziya al-Din Pir Muhammad Bahadur Khan, the ruler of
Fars between 1394 and 1409. It is divided into chapters, which discuss the
bones, nervous system, muscles, veins, arteries, organs, and the development
of the embryo. According to Barbara Schmitz, the earliest known dated
copies are from the 1670s and 80s although since she wrote on the subject
a copy, possibly in the hand of the author and dated AH 813/1411 AD, was
bought by the Lawrence J. Schoenberg Collection from Sam Fogg (http:/
sceti.library.upenn.edu/sceti/ljs/PageLevel/index.cfm?option=view=ljs049).
The calligraphy, illumination and drawings of ours, as well as the paper,
suggest a 15th century date, making it amongst the earliest examples known
(Barbara Schmitz, Islamic Manuscripts in the New York Public Library, New
York, 1992, pp.134-35). An anatomical drawing from a similar text, with very
similar drawing and colouring and again catalogued as 15th century is in
the Biblilothque nationale de France (published in La medicine au temps
des califes, exhibition catalogue, Paris, 1996, p.110). A copy of the Tashrih-i
Mansuri copied in Shiraz in around 1450 is in the Nasser D. Khalili Collection
(MSS387; LAge dor des sciences arabes, exhibition catalogue, Paris, 2005,
no.91, p.167). Like ours the fgures which illustrate the skeleton and the
nervous system in the Khalili manuscript are shown from behind, with the
head lifted up so that the mouth is at the top of the page. The other fgures
are all represented straight on.
Two other copies of the work are in the National Library of Medicine,
Maryland (MS P.18 and P.19), another is in the Aga Khan Museum (AKM525)
and three further copies are said to be in the British Museum. An 18th
century Indian copy was sold at Sothebys, 8 October 2008, lot 45. More
recently, a 15th century copy was sold in these Rooms, 23 April 2015, lot 16.
Of those listed, ours is notable in that it is the largest copy.
65
q 84
$10,000-14,000
9,100-13,000
Abdullah Hatif was the nephew of the famous poet Nur al-Din Abd alRahman Jami. Hatif spent his life in the town of Jam located near Herat.
He was greatly infuenced by the works of Nizami and Amir Khusraw. This
historical narrative manuscript is dedicated to Timur but mostly based
on Nizamis Iskandarnama. This text appears to be the only work that the
author completed. Another copy of the Timurnama copied in Herat and
dated AH 977/1569-70 AD was with Sam Fogg, Arabic, Persian and Ottoman
Manuscripts, exhibition catalogue, 6-23 October 2009, no. 36.
84
q 85
$4,300-7,100
3,900-6,500
85
q 86
$5,700-8,500
5,200-7,700
INSCRIPTIONS:
A seal impression at the beginning and end of the manuscript gives the name
of Mahdi Quli and the date of AH 1221/1806-07 AD.
86
87
THE BATTLE BETWEEN TUS
AND FURUD
PROBABLY QAZVIN, SAFAVID
IRAN, LAST QUARTER 16TH
CENTURY
An illustration from the Shahnama
of Firdawsi, opaque pigments
heightened with gold on paper, Tus
and Furud are depicted mounted
on horseback, one with bow in hand
shooting the other who collapses in
the foreground, around them a rocky
outcrop from which another mounted
fgure looks on, small foxes peer out
from some of the other rocks, two
further fgures look on from the roof
of a pavilion on the horizon, lines of
nastaliq arranged in four columns
above and below, one heading in
white nastaliq in a gold illuminated
panel below, laid down on paper,
some creasing and damages to edges
Folio 9 x 8in. (25 x 20.2cm.)
15,000-25,000
$22,000-35,000
20,000-32,000
67
~88
A SAFAVID KHATAMKAR AND GEOMETRIC INLAY WOODEN
DOOR
IRAN, 16TH CENTURY
The rectangular door with rounded hinge post above, the face with large
central geometric panel fanked above and below by smaller panels each
with shaped tesserae inlaid in a variety of materials including ivory, ebony,
brass and stained ivory forming a complex geometric interlace design, in
a border of chevron stripes similarly intricately worked with a variety of
inlays fanking small squares containing similarly worked maze repeats
of the name Ali, outer bold chevron stripe in two diferent woods, the
reverse of the door with three panels, a large rectangle fanked above and
below by smaller panels all flled with a complex geometric arrangement,
a heavy chain afixed to one side, restorations, some damages to inlay
81 x 23in. (205.7 x 59.4cm.)
200,000-300,000
$290,000-420,000
260,000-390,000
88 (detail)
A few pieces from the 15th century have inlay work which relates to that
on the present door, although it has not yet achieved the fnesse seen
here. In particular the work used here in the squares containing the
name Ali is very close to decorative details from the 15th century such
as the border of the cover of the famous carved wooden casket made
for Ulugh Beg which employs exactly this technique, using ivory and
ebony in square tesserae (Thomas W. Lentz and Glenn D. Lowry, Timur
and the Princely Vision, Los Angeles, 1989, no.49, p.142). Two doors
from the Gur-i Mir in Samarqand which can be dated to around 1405
AD also appear to use a very similar idea for the decoration of lozenge
panels around which the wooden ground is carved (Arthur Upham Pope,
A Survey of Persian Art, Oxford, 1938, pl.1470). Though the geometry is
more complex than the Ulugh Beg casket, the individual pieces are still
not nearly as small as those used in the present door. In its outer border
of chevrons the Gur-i Mir door also presages the present example.
The technique appears to be one which the Safavid craftsmen refned
and made far fner in detail. A small number of doors which are
comparable to the present one have survived. A very close example
was purchased by the David Collection (Kjeld von Folsach, Art from
the World of Islam in the David Collection, Copenhagen, 1991, no.448,
p.280, dated there to the 17th century). The work in the individual panels
there is identical to that found here; the geometry of the interlace is
however diferent and the door is slightly larger overall. Comparable
examples are found in many of the most important shrines endowed by
the Safavids, including those in Qum, Mashhad and that of Shaykh Saf
al-Din Ardebili in Ardebil. They were not however just used in religious
surroundings; similar decoration is found on doors in the bazaar and
in the Chahar Bagh School in Isfahan. This latter pair, has very similar
geometry to the present door and a very comparable proportion
within each small panel of khatamakar work as opposed to the ground
material. The ground material on that example is however ivory. One
example which can be conclusively dated to the very beginning of the
Safavid period is the sarcophagus in the shrine of Musa al-Qasim in
present-day Iraq. This is signed by Muhammad Jima and dated AH
906 (1500-01 AD). Three examples in this technique are also signed by
one Habibullah, one of which is dated 1591 AD; these are in the Berlin
Museum, the Victoria and Albert museum, and the museum in Bukhara.
88 (detail)
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
88 (reverse)
69
*89
THE COURT OF GAYUMARS
SAFAVID SHIRAZ, IRAN, CIRCA 1580
An illustration from the Shahnama of Firdawsi, Gayumars sits cross-legged
upon a tiger skin rug in a landscape, around him courtiers kneel and stand, all
wearing white leopard skin or brown tiger skin robes, above and below four
columns each containing 3ll. of black nastaliq in clouds reserved against gold
ground, verso with four columns of 17ll. written both horizontally and on the
diagonal, one heading in white nastaliq on gold ground, text panels outlined in
gold and polychrome, folio with some creasing, mounted
Painting 9 x 6in. (22.4 x 17cm.); folio 9 x 7in. (24.5 x 18.3cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
The depiction of the animals with their heads twisted to face various angles
and the fowering foliage which is lighter than the darker green background
is similar to a copy of the Majlis al-Ushshaq of Gazurgahi which is attributed
to Shiraz, circa 1580 and is now in the Topkapi Saray Museum Library in
Istanbul (inv. H.829; Lale Ulu, Turkman Governors Shiraz Artisans and
Ottoman collectors: Sixteenth Century Shiraz Manuscripts, Istanbul 2006,
no.135, p.190).
89
90
BAHRAM CHUBINAS ATTACK ON THE CAMP OF KHUSRAW
PARVIZ
SAFAVID SHIRAZ, 16TH CENTURY
An illustration from the Shahnama of Firdawsi, opaque pigments heightened
with gold on paper, a ferce battle ensues against a light blue background
populated by small fowers, fgures in large white tents look on from the rocky
horizon beneath a starry sky, lines of black nastaliq above and below arranged
in four columns with double gold intercolumnar rule, one heading in white
on a gold and polychrome illuminated ground, laid down between gold and
polychrome rules on wide cream margins decorated with gold fowers and
animals, small areas of repainting, mounted, framed and glazed
Painting 8 x 7in. (20.8 x 17.7cm.); folio 13 x 9in. (35 x 23cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
PROVENANCE:
91
92
91
92
3,000-5,000
$4,300-7,100
3,900-6,500
Please see the following lot for a note on the style of this painting.
4,000-6,000
$5,700-8,500
5,200-7,700
The shape of the fattened circular turbans often highlighted with a gold
swirl of fabric are closely related to those depicted in a Shahnama of Firdawsi
dated 1585, now in the Topkapi Saray Museum Library in Istanbul (R.1548;
Lale Ulu, Turkman Governors Shiraz Artisans and Ottoman collectors:
Sixteenth Century Shiraz Manuscripts, Istanbul 2006, no.288, p. 383).
71
VARIOUS PROPERTIES
q 93
72
$57,000-85,000
52,000-77,000
73
*94
A SAFAVID BRASS AND SILVER
OVERLAID ZINC FLASK
IRAN, 17TH CENTURY
Of drop shape rising through a tubular neck to
slightly faring mouth with constricted opening,
on short spreading trumpet foot, the zinc body
overlaid with closely spaced vertical strips of
brass, the brass mouth and foot each originally
with a design of panels or arches containing
rosettes applied in silver sheet, a similar band of
decoration around the opening, most silver now
missing
12in. (32.5cm.) high
5,000-7,000
$7,100-9,900
6,500-9,000
PROVENANCE:
94A
74
94A
A LARGE SAFAVID ENGRAVED TINNEDCOPPER BOWL
IRAN, LATE 16TH/EARLY 17TH CENTURY
Of rounded form narrowing before everted rim, the body
engraved with a register of hanging interlocking cusped
palmettes containing arabesques, the shoulder with a
band of elongated cartouches alternated with smaller
diamond-shaped arabesque cartouches, one cartouche
with an owners inscription in nastaliq, the rim with a band
of scrolling vine issuing cusped palmettes and a makers
cartouche on the lower part of the body in a drop-shaped
cartouche
17in. (45cm.) diam.
8,000-12,000
$12,000-17,000
11,000-15,000
INSCRIPTIONS:
95
A YOUTH HOLDING A WINE FLASK
SAFAVID ISFAHAN, LAST QUARTER 16TH
CENTURY
Opaque pigments heightened with gold on paper,
the youth cradles a gemset gold wine fask and a
pomegranate, wearing blue robes tied with colourful
sashes, gold and polychrome illuminated spandrels, laid
down between a minor border of nastaliq cartouches,
on later margins with two-toned gold foral and avian
designs, the reverse with 4ll. of black nastaliq in white
clouds reserved against gold ground with scrolling
polychrome foral designs
Painting 8 x 4in. (20.2 x 11.6cm.);
folio 15 x 10in. (39.2 x 26cm.)
30,000-40,000
$43,000-57,000
39,000-52,000
95
75
96
A GROUP OF FOLIOS FROM A KHAMSA
OF NIZAMI
SAFAVID SHIRAZ, IRAN, CIRCA 1510
Persian manuscript on paper, comprising 15
illustrated folios in opaque pigments heighted
with gold and 2 illuminated headpieces, each folio
with 19ll. of elegant black nastaliq divided into
four columns with gold rules, text panels outlined
with gold and blue rules, the illuminated chapter
headpieces with gold and polychrome illumination,
one of the illustrated folios with following folio
attached
Text panel 7 x 3in. (18 x 9cm.);
folio 10 x 6in. (26 x 15.6cm.)
12,000-18,000
$17,000-25,000
16,000-23,000
76
97
A PIERCED STEEL PROCESSIONAL
STANDARD (ALAM)
PROBABLY SAFAVID ISFAHAN, IRAN,
LATE 17TH/EARLY 18TH CENTURY
Of drop-shape with an openwork band
of scrolling vine issuing palmettes and
fowerheads, surrounded on the outside by
a solid band with engraved scrolling vine,
issuing alternating circular and dome-shaped
pendants, a pair of lively addorsed dragonhead terminals, on ftted metal stand and base
33in. (85cm.) high excluding stand
25,000-35,000
$36,000-50,000
33,000-45,000
77
VARIOUS PROPERTIES
*98
TWO ILLUMINATED FOLIOS FROM A SAFAVID MANUSCRIPT
SHIRAZ, IRAN, 16TH CENTURY
From a Shahnama of Firdawsi, Persian manuscript on paper, the frst folio with an elaborate gold and
polychrome headpiece surmounting four columns each with 13ll. of nastaliq in clouds reserved against
gold ground with polychrome foral highlights, the second page with 25ll. of similar nastaliq from the
chapter on the reign of Iskandar, verso of the frst folio with the text in a single block comprising the end
of the Baysunghuri preface, laid down between gold and polychrome rules on wide margins with gold
scrolling vine and a landscape inhabited by animals
Largest 14 x 9in.(36.8 x 23.2cm.)
7,000-10,000
78
$10,000-14,000
9,100-13,000
(recto)
(verso)
*99
A FINELY ILLUMINATED CALLIGRAPHIC
FOLIO FROM A BUSTAN OF SHAYKH
MUSLIH AL-DIN SADI
FROM A MANUSCRIPT COPIED BY ALI ALHUSAYNI AL-KATIB, SAFAVID HERAT, DATED
AH 932/1525-26 AD
Ink and opaque pigments heightened with gold
on gold-sprinkled paper, recto with 13ll. of fne
nastaliq couplets in four columns arranged in
alternating horizontal and diagonal panels fanked
by triangles of gold and polychrome illumination,
two gold and polychrome illuminated headings,
verso with 21ll. of elegant horizontal black nastaliq,
four gold and polychrome illuminated headings,
set within gold-speckled margins, traces of a seal
impression on the verso
Text panel 7 x 4in. (18 x 10cm.);
folio 11 x 7in. (28.5 x 18.8cm.)
15,000-20,000
$22,000-28,000
20,000-26,000
79
This scene depicts the poet Sadi and a dervish from Faryab who arrive
at a river in the Maghreb at the same moment. Sadi had a dirham with
which he paid for his crossing. The dervish however had no money and
was left behind. During the crossing Sadi felt some remorse at the
dervishs fate. When he heard laughter however he turned to see the
Dervish crossing the river upon his prayer rug.
The production of the manuscript from which our folios come follows,
in many respects, the narrative of a copy of Farid al-Din Attars Mantiq
al-Tayr copied by Sultan Ali Mashhadi which is now in the Metropolitan
Museum of Art in New York (inv.63.210; Maryam D. Ekhtiar, Priscilla P.
Soucek, Sheila R. Canby and Navina Najat Haidar (eds.), Masterpieces
from the Department of Islamic Art in the Metropolitan Museum of Art,
New York, 2011, no.127, pp.188-90). The Metropolitan Museums Mantiq
al-Tayr is dated to the frst day of the ffth month of the year AH 892,
corresponding to the 25th of April 1487 AD, and contains paintings
attributed to the pre-eminent Timurid artist Behzad. In addition to this
it includes four illustrations which date to period of the Safavid Shah
Abbas I (r. 1588-1629). The paintings which were added at the court
of Shah Abbas I are painted almost in keeping with the style of the
earlier Behzadian paintings, as if the artists were trying to maintain the
original essence of the manuscript. A similar story can be seen in our
manuscript, which has obviously had Shah Abbas era paintings added
to an earlier core. This archaistic style can be seen to a greater extent in
the painting ofered in the following lot.
*100
THE IMPOVERISHED DERVISH OF FARYAB CROSSES THE RIVER ON
HIS PRAYER MAT
THE PAINTING SAFAVID ISFAHAN, CIRCA 1600, THE CALLIGRAPHY BY ALI
AL-HUSAYNI AL-KATIB, TIMURID HERAT, CIRCA 1526;
An illustration from the Bustan of Shaykh Muslih al-Din Sadi, opaque pigments
heightened with gold on paper, the dervish Faryab kneels on a fat-woven prayer rug
that foats on a silver river, following a sailboat full of astonished observers including
Sadi, pairs of ducks take fight in upper right-hand corner before a rocky landscape,
gold and polychrome rules on margins with gold outlined scrolling foral arabesques
inhabited with birds, the reverse with four columns, each with 21ll. of elegant black
nastaliq on gold paper, salmon coloured margin with gold-speckled decoration,
margin with seal impressions, very minor creases
Text panel 7 x 4in. (18.7 x 10.8cm.); folio 11 x 7in. (28.5 x 18.5cm.)
150,000-200,000
$220,000-280,000
200,000-260,000
INSCRIPTIONS:
The seal impression is that of the Shrine at Ardabil, it reads, vaqf-e astane-ye
motabarrake-ye safaviyye-ye safyye , Waqf of the blessed Safavid shrine of Saf....
The date, partly legible here is AH 1017/1608-09 AD.
80
*101
KING JAMSHID WRITES ON A ROCK
THE PAINTING SAFAVID ISFAHAN, CIRCA 1600, THE CALLIGRAPHY
BY ALI AL-HUSAYINI AL-KATIB, TIMURID HERAT, CIRCA 1526
An illustration from the Bustan of Shaykh Muslih al-Din Sadi, opaque
pigments heightened with gold on paper, King Jamshid, pen in hand, inscribes
a text on a rock, attendants look on, one holds a sheath of arrows, sitting before
two horses, around them a lyrical background with a silver stream fowing from
rocky outcrop and a large tree inhabited by magpies swaying before a golden
sky, laid down within polychrome rules on wide gold-speckled blue margins,
reverse with four columns of 16ll. of elegant horizontal and diagonal nastaliq
on gold-sprinkled paper, elegant gold-speckled marbled paper margins, one
seal impression
Painting 7 x 5in. (18 x 13cm.); folio 11 x 7in. (28.5 x 18.5cm.)
120,000-180,000
$170,000-250,000
160,000-230,000
INSCRIPTIONS:
The seal impression is that of the Shrine at Ardabil, it reads, vaqf-e astane-ye
motabarrake-ye safaviyye-ye safyye , Waqf of the blessed Safavid shrine of
Saf.... The date, partly legible here is AH 1017/1608-09 AD.
This lyrical painting depicts a scene from the frst chapter of Sadis Bustan:
I heard that King Jamshid, of happy nature,
Wrote on a stone, at a fountain-head:
At this fountain many like us took rest;
They departed in death, just as the eyes twinkled.
With manliness and force they took the world;
But they took it not with themselves to the tomb.
They departed, and each one reaped what he sowed:
There remained only good and bad fame.
*102
A PORTRAIT OF SHAYKH HASSAN BULGHARI
SAFAVID ISFAHAN, IRAN, SECOND QUARTER 17TH CENTURY
Pen and ink on paper, the bearded dervish stands wearing long robes, laid
down between minor calligraphic and illuminated borders and narrow goldspeckled and foral border on wide gold-speckled margins, identifcation
inscription in the lower margin
Drawing 6 x 3in. (15.9 x 8.9cm,); folio 16 x 12in. (42.2 x 30.8cm.)
7,000-10,000
$10,000-14,000
9,100-13,000
INSCRIPTIONS:
102
103
AN ASCETIC SEATED UNDER A TREE
ISFAHAN, IRAN, SECOND HALF 17TH CENTURY
Ink and opaque pigments on paper mounted on card, the pot-bellied fgure is
seated cross-legged under a leafy tree, the coloured pigments probably added
later, set inside gold-speckled margins with a nastaliq inscription in the top
left hand corner
Painting 6 x 3in. (17 x 8cm.); folio 9 x 6in.(23.5 x 15cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
INSCRIPTIONS:
In the upper left corner, molla hasan-e sar berehneh, Mullah Hassan the naked
headed
A painting of a seated dervish with a very similar expression in the Hermitage
is signed by Muhammad Muhsin and dated to the mid 17th century (Inv. VP734; Adel Adamova, Persian Painting and Drawing from the Hermitage, Saint
Petersburg, 1996, p.231, no.27).
103
104
AN ANIMAL COMBAT SCENE
IRAN, 17TH/18TH CENTURY
Ink heightened with gold on paper, a qilin attacks a hoofed mythical beast,
with ibises below in a landscape with dense foliage, the gold and polychrome
borders with cartouches containing nastaliq verses, within wide goldspeckled margins, mounted on card
Drawing 6 x 4in. (15.5 x 11.2cm.); folio 12 x 9in. (32.3 x 25.3cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
104
PROPERTY FROM THE COLLECTION OF A. H. MORTON
105
A GATHERING OF MYTHICAL CREATURES AROUND A LOTUS
LEAF
BY MUIN MUSAVIR OR A FOLLOWER, SAFAVID IRAN, WITH DATE OF
SHAWWAL AH 1088/NOVEMBER-DECEMBER 1677 AD
Ink and opaque pigments heightened with gold on paper, a peri watches
from behind a stylised cloud as qilins, a swan and a turtle occupy a fantastic
landscape, contained within a cusped medallion, the margins with gold
simurghs in each corner against a background with stylised clouds inhabited
by smaller birds, margins with attribution and date, within pink borders, laid
down on card with blue margins and gold rules
Drawing 10 x 6in. (26.2 x 17cm.); folio 15 x 10in. (39.3 x 27cm.)
8,000-12,000
$12,000-17,000
11,000-15,000
PROVENANCE:
85
VARIOUS PROPERTIES
106
A RARE POLYCHROME LACQUER PAPIER MCH BOX
SIGNED ALI ASHRAF, IRAN, DATED AH 1163/1749-50 AD
Of rectangular form, with separate lid, the exterior painted with a series
of polychrome foral sprays set within gold-outlined cusped cartouches
reserved on gold-speckled ground, foral borders, the interior of the lid with
gold scrolling vine issuing cusped palmettes on black ground, the underside
painted red with gold border, the central medallion on the lid signed and dated
in gold
4 x 11 x 7in. (11.2 x 29.3 x 20cm.)
5,000-7,000
$7,100-9,900
6,500-9,000
Ali Ashraf was trained by the master Muhammad Zaman. It has been
suggested that his signature zi bad-i muhammad ali ashraf ast (After
Muhammad, Ali is most noble), is a mark of respect to his former master.
He is known to have worked on the binding of the St. Petersburg Muraqqa,
two folios of which are ofered in this sale, lots 18 and 19. A vanity case by
the same artist sold in these Rooms, 6 October 2011, lot 266. For a mirror
case by the artist, with a very similar foral medallion on the inner face of
the shutter to that seen on the lid of our box, see Nasser D. Khalili, B.W.
Robinson and Tim Stanley, Lacquer of the Islamic Lands, vol.I, London, 1996,
pl.64, p.98.
INSCRIPTIONS:
The signature on the lid of the box reads, ze-bad-e mohammad ali ashraf ast
1163, After Muhammad, Ali is the most noble, AH 1163 [1749-50 AD]
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
q107
QURAN
SAFAVID IRAN, SECOND HALF 16TH CENTURY
Arabic manuscript on paper, 390f. plus three
fy-leaves, each folio with 12ll. of black naskh, gold
and polychrome verse roundels, sura headings in
gold muhaqqaq on a ground of scrolling polychrome
arabesques, text panels outlined with gold and
polychrome, margins with cusped gold khams and
ashr medallions, the opening bifolio with large gold
and polychrome illuminated shamsas containing foral
sprays, the following folio with gold and polychrome
illuminated borders, colophon with the spurious
signature of Abd al-Baqi al-Tabrizi in muhaqqaq
on gold arabesque ground surrounded by gold and
polychrome foral scrolling vine borders, later owners
seal impressions at beginning and end, in associated
Ottoman tooled and gilded maroon morocco with
marbled paper doublures
Text panel 5 x 3in. (13.7 x 8.7cm.);
folio 7 x 5in. (19.6 x 13cm.)
8,000-12,000
$12,000-17,000
11,000-15,000
q108
A PRAYER BOOK
COLOPHON WITH THE NAME OF AHMAD ALNAYRIZI, ISFAHAN, QAJAR IRAN, 19TH CENTURY
107
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
108
87
q109
QURAN
SAFAVID SHIRAZ, CIRCA 1550
Arabic manuscript on paper, 289f. plus four fy-leaves,
each folio with 12ll. of strong black naskh in text panels
within gold and polychrome rules, gold and polychrome
verse roundels, the margins with red and gold calligraphy
and gold and polychrome foral roundels marking various
points in the text, sura headings in gold thuluth on
gold and polychrome illuminated panels, opening folio
with elegant shamsa containing 3ll. of white thuluth,
the following bifolio with full illumination surrounding
calligraphic medallions, folio 2v. with illuminated
headpiece surmounting text in clouds reserved against
gold ground, the Quran followed by 3 illuminated
bifolios containing a prayer and a falnama, some folios
loose, occasional repairs, in original elegant gilt binding
with fap stamped with central medallion flled and
surrounded by cloud bands and scrolling vine highlighted
in blue, the doublures with dcoup central medallion
and spandrels surrounded by gilt cloud bands and fowers
with polychrome highlights and an elegant calligraphic
border, repairs to spine
Text panel 9 x 6in. (24.9 x 15.6cm.);
folio 13 x 9in. (34.1 x 24.8cm.)
40,000-60,000
(shamsa)
$57,000-85,000
52,000-77,000
INSCRIPTIONS:
110
A LARGE SAFAVID BLUE AND WHITE
POTTERY DISH
IRAN, LATE 17TH OR EARLY 18TH CENTURY
Rising from short foot through wide gently curved
sides to rim, the white ground painted in cobaltblue, with a roundel of foral ground inhabited by
three white birds, bordered by a band of strapwork,
the cavetto with interlocking palmettes with a
gul-o bulbul design, the exterior with a Chinese
style design of scrolling vine issuing palmettes,
the underside of the foot with a stylised Chinese
mark, intact
18in. (46.5cm.) diam.
4,000-6,000
$5,700-8,500
5,200-7,700
110
111
A SAFAVID FIGURAL CUERDA SECA POTTERY TILE
IRAN, 18TH CENTURY
Of rectangular form, depicting a turbaned youth wearing a green robe with
yellow collar, on blue ground with stylised foliage, mounted
10 x 8in. (25.4 x 20.8cm.)
2,000-3,000
$2,900-4,200
2,600-3,900
PROVENANCE:
111
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
112
112
A SAFAVID FIGURAL CUERDA SECA TILE PANEL
IRAN, 18TH CENTURY
The two tiles of square form, with polychrome decoration on
cobalt-blue ground depicting a turbaned youth lassoing a deer,
stylised foliage and clouds around, one repaired break, the
reverse with old owners mark
9 x 20in. (24 x 51cm.)
(2)
3,000-5,000
$4,300-7,100
3,900-6,500
PROVENANCE:
113
A BLUE AND WHITE PORCELAIN DISH
MING DYNASTY, CHINA, MID-17TH CENTURY
With faring cusped rim on short foot, the interior with a portrait
of two Safavid women set within vegetal bands, the rim with
scenes of Chinese labourers and foral sprays including tulips
and pomegranates, the exterior with further foral sprays
alternating with cusped medallions of scrolling vine, minor hair
cracks
12in. (31.8cm.) diam.
5,000-8,000
$7,100-11,000
6,500-10,000
113
91
q114
QURAN
CHINA, 17TH CENTURY
Arabic manuscript on paper, 430f. bound in three volumes, each folio with
11ll. of black sini in text panels within double red rules, gold rosette verse
markers, sura headings in red, bismillahs in slightly larger script, commentary
and notes in smaller calligraphy surrounding text, the frst and fnal bifolios
of each volume with elegant gold and polychrome illumination framing 7ll. of
text, the beginning of the frst and second section, and the beginning and end
of the third with similarly illuminated shamsa, each of the volumes in blue cloth
covered binding, the doublures covered with paper
Text panel 8 x 4in. (20.2 x 12.2cm.); folio 11 x 7in. (29.2 x 18cm.)
(3)
8,000-12,000
$12,000-17,000
11,000-15,000
114
q115
A PRAYER BOOK
SIGNED YUSER BIN AHMAD KHAN BIN MADINA, CHINA, DATED
MUHARRAM AH 1000/10TH OCTOBER 1591 AD,
Arabic manuscript on paper, 122f. each folio with 5ll. of black sini in text panel
outlined in red, sura headings in red, gold and polychrome verse roundels, the
opening and closing bifolios with gold and polychrome illuminated borders
surrounding the text, colophon signed and with date written in Arabic,
occasional water staining, in stamped brown morocco binding
Folio 9 x 6in. (23 x 16cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
115
q116
QURAN
SIGNED KHALIL IBRAHIM YUNUS AL-SINI, GANSU, CHINA, DATED
MUHARRAM AH 953/MARCH-APRIL 1546 AD
Arabic manuscript on paper, 242f. plus four fy-leaves, each folio with 15ll. of
black sini within text panels outlined in red, catchwords, red verse markers,
sura headings in red, opening bifolio and the last three folios with gold and
polychrome illuminated borders surrounding the text, colophon signed and
dated, a Chinese seal at the end, occasional water staining, folios slightly
trimmed, in associated stamped brown morocco, paper and textile covered
doublures
Text panel 4 x 2in. (11.5 x 6.7cm.); folio 6 x 4 in. (6.8 x 10.5cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
The colophon page with a later collectors seal bearing the surname Ma.
116
92
q117
$17,000-25,000
16,000-23,000
93
118
A DCOUP NASTALIQ QUATRAIN
SIGNED MIR ALI, SAFAVID IRAN, LATE 16TH CENTURY
Persian manuscript on blue paper, with 4ll. of nastaliq elegantly cut out and
laid down, the signature in smaller similar nastaliq in the lower left hand
corner, a panel of gold and polychrome illumination in the upper right hand
corner, the ground with a landscape scene picked out in gold and silver, laid
down with polychrome rules and a pink minor border on wide gold speckled
margins, mounted, framed and glazed
Panel 7 x 4in. (19.2 x 11.9cm.); folio 11 x 7in. (28.6 x 19.6cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
Mir Ali is often mentioned by Safavid sources as among the most important
nastaliq calligraphers of all time. Various authorities attribute the codifying
of the aesthetic rules of nastaliq script to him. Born in Herat circa 1476, he
was later taken to Bukhara by the Shaybanid ruler Ubaydullah Khan after
his capture of Herat in AH 935/1528-29 AD (Mehdi Bayani, Ahval va Asar-e
Khosh-Nevisan, vol. II, Tehran 1346 sh., p.494). His recorded works are dated
between AH 914/1508-09 AD and AH 951/1544-45 AD. A similar nastaliq
quatrain, signed by Imad al-Hasani but similarly executed in dcoup sold in
these Rooms, 23 April 2015, lot 49.
118
119
A NASTALIQ QUATRAIN
SIGNED ALI, SAFAVID IRAN, 16TH/17TH CENTURY
Persian manuscript on buf paper, with 4ll. of elegant black nastaliq on a
ground delicately illuminated in gold with two prowling cheetahs amongst
fowering blossoms, a triangular panel below with the signature al-muthnib
ali in a cloud reserved against a gold ground with scrolling green vine, a panel
above with later gold and polychrome illumination, laid down between orangeoutlined panels of nastaliq between small polychrome rectangles, minor goldilluminated blue borders and polychrome rules, on later wide borders with
polychrome foral and avian decoration and polychrome cusped cartouches,
small losses
Text panel 7 x 4in. (18.9 x 11.2cm.); folio 14 x 10in. (37.9 x 25.6cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
94
*120
A QURAN IN THIRTY JUZ IN
ORIGINAL BOX
SIGNED MUHAMMAD AL-SHARIF
BIN AL-ALLAM MUHAMMAD BAQIR
AL-KHORASSANI, QAJAR ISFAHAN,
IRAN, DATED AH 1271/1854-55 AD
Arabic manuscript on paper, the Quran
separately bound in thirty juz, each
folio of each volume with 12ll. of strong
black naskh contained within text
panels outlined in gold and polychrome,
the margins with gold outer rules,
catchwords, gold verse roundels, sura
headings in blue thuluth in gold and
polychrome illuminated panels, the juz
similarly marked at the beginning of
every volume, juz and sajada also marked
with a marginal medallion, khams
and ashr marked in red thuluth in the
margins, the frst folio of every juz with a
long inscription containing the signature
and date, opening folio of the frst volume
with gold and polychrome illumination
framing 5ll. of text, each juz in original
green morocco with stamped central
medallion, pendants and spandrels, pink
paper doublures, the thirty juz contained
within the original painted and lacquered
wooden box with sliding lid, each surface
of the box with raised calligraphic
cartouches, pendants and spandrels
with foral design, occasional losses
Text panel 6 x 3in. (16.5 x 9.5cm.);
folio 9 x 6in. (23.9 x 15.6cm.)
18,000-24,000
$26,000-34,000
24,000-31,000
INSCRIPTIONS:
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
q121
QURAN
121
$7,100-9,900
6,500-9,000
q122
A MINIATURE QURAN
122
96
$8,500-11,000
7,800-10,000
q123
QURAN
$7,100-9,900
6,500-9,000
123
q124
QURAN
$5,700-8,500
5,200-7,700
124
97
125
JALAL AL-DIN MIRZA, SON OF FATH ALI SHAH
ATTRIBUTABLE TO ABUL HASSAN GHAFFARI SANI AL-MULK, QAJAR IRAN, DATED
SHAWWAL AH 1275/MAY-JUNE 1859 AD
Oil on canvas, Jalal al-Din Mirza is depicted standing in an interior wearing tall black hat and gold
embroidered robes, one hand resting on his jewelled belt, behind him a fringed curtain before a widow
revealing a mountainous landscape, inscriptions in both Persian and French in the lower left hand corner,
minor repairs, in heavy gilt frame
49 x 35in. (124.5 x 88.9cm.)
70,000-100,000
$100,000-140,000
91,000-130,000
INSCRIPTIONS:
To the left of the fgure, shabih-e shahzade-ye azade jalal al-din mirza ibn fath-ali shah qajar dar senn-e si
salegy be-tarikh-e shahr-e shawwal al-mukarram sana 1275, Portrait of the noble Prince, Jalal al-Din Mirza
ibn Fath Ali Shah Qajar, at the age of 30 years, on the date of the month of Shawwal al-Mukarram, in the
year 1275/May-June 1859
Jalal al-Din Mirza (1827-72) was a son of Fath Ali Shah Qajar (r. 1797-1834). He was a Qajar historian
and freethinker and the author of the Nameh-i Khusravan, one of the earliest examples of modern Iranian
historiography in the Qajar period (http:/www.iranicaonline.org/articles/jalal-al-din-mirza).
A portrait of Prince Jalal al-Din Mirza, depicted face on and clean shaven, is published in Yahya Zoka,
Life and Works of Sani ol-Molk, 1814-1866, Tehran, 2003, fg.11, p.153. A much smaller portrait of the
Prince standing in a landscape was sold in these Rooms, 9 October 2014, lot 71. As in our portrait, that
painting depicted him with long moustache and closely shaven beard.
It seems very probable that this paining is the work of the court artist Abul Hassan Ghafari. In the fne
rendering of Prince Jalal al-Dins countenance and the imposing presence of the fgure, our painting has
strong afinities with the artists work of the 1850s and 60s. The heavily embroidered robe worn by our
Prince bears strong resemblance to those modelled by Ardeshir Mirza in a portrait published by Layla
Diba (Layla S. Diba (ed.), Royal Persian Paintings. The Qajar Epoch 1785-1925, exhibition catalogue, New
York, 1998, fg.XXVIII, p.251) or in a portrait of the young Nasir al Din Shah, sold in these Rooms, 10 April
2014, lot 120. In the fne details of his facial features with the slightly hooded eyes, light wrinkling of the
forehead and the curl of hair under his hat, the portrait recalls a painting of Imam Quli Khan Imad alDawleh attributed to the artist by Layla Diba and dated to circa 1855-56 (Diba, op.cit., no.80, p.252).
The work of Abul Hassan demonstrates a change in the aesthetic of Qajar painting in the mid-19th
century (Julian Raby, Qajar Portraits, exhibition catalogue, London, 1999, p.53). The artist began his
career as a pupil of Mehr Ali, but none of his early works survive and it is therefore unclear as to whether
his painting began in a style more typical of Fath Ali Shahs reign. He was appointed the naqqashbashi
(chief painter) of the court of Muhammad Shah in 1842 (Yahya Zoka, op.cit., Iran, 2003, p. 21) and was
sent to study in Italy and Paris, a factor which began to manifest itself in a European-infuenced realism
in his work that was new to Persian painting. The expressive power of his portraits - as demonstrated
here - led Abul Hassan to the art of caricature and he became the illustrator to the court newspaper,
Ruznama-i vugayi-i ittifaqiya. Alongside the more traditional depictions of Qajar nobles, he showed a
capacity for the merciless caricature of their attendants and the religious classes (Julian Raby, op. cit.,
p.53).
98
126
126 (mount)
INSCRIPTIONS:
126
A GOLD-MOUNTED ENGRAVED CARNELIAN MADE FOR
HUSAYN ALI MIRZA, SON OF FATH ALI SHAH
THE MOUNT SIGNED MUHAMMAD HASSAN SHIRAZI, QAJAR IRAN,
DATED AH 1221/1806-07 AD, THE CARNELIAN DATED AH 1217/180203 AD
Of oval form, the carnelian with 3ll. of strong nastaliq surrounded by small
quatrefoils and contained within a cartouche, set in a gold mount with
cusped edges and two palmette attachment loops, the back engraved with a
talismanic table bordered on each side by an elegant line of nastaliq giving the
name of the patron, the maker and the date of the mount
Overall 4in. (10.4cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
127
Husayn Ali Mirza (1789-1835), for whom this talisman was mounted, was the
ffth son of Fath Ali Shah Qajar. He was a long-term governor of Fars and
briefy the self-styled king of Persia (http:/www.iranicaonline.org/articles/
farmanfarma-hosayn-ali-mirza). He is depicted in a painting with Fath Ali
Shah now in the Hermitage Museum in St Petersburg (Layla S. Diba (ed.),
Royal Persian Painting. The Qajar Epoch 1785-1925, exhibition catalogue,
1998, fg.24, p.73).
INSCRIPTIONS:
127
5,000-7,000
$7,100-9,900
6,500-9,000
128
FIVE ROYAL QAJAR LETTERS RELATING TO MIRZA REZA KHAN, ARFA
AL-DAWLA
QAJAR IRAN, LATE 19TH/EARLY 20TH CENTURY
Ink and opaque pigments heightened with gold on paper, all with lines of elegant black
nastaliq in clouds reserved against gold-illuminated ground, the frst with lion and sun
stamps and set on a ground of scrolling gold arabesques, the second with the seal of
Muzafar al-Din Shah Qajar (r.1853-1907), copied in his hand and with an illuminated
crest above, the third with an elegant bismillah at the beginning in gold, the fourth
divided into two columns, a hand written annotation above surrounded by a gold and
polychrome illuminated boteh, the ffth with a seal impression and dated AH 1297/187980 AD in the lower left hand corner on gold and polychrome foral margins, together with
a photographic print of a further letter with added gold and polychrome illumination and
a further smaller letter with a seal stamp
Largest 22 x 16in. (57.8 x 41.2cm.)
(6)
3,000-5,000
$4,300-7,100
3,900-6,500
Mirza Reza Khan (1846-1939) was a prominent diplomat, politician and linguist of
the late Qajar period. He is particularly remembered for his nomination as Minister
Plenipotentiary to Russia (1895-1901) and representing Persia at the Hague Convention
of 1899. Originally from Tabriz, Mirza Reza Khan studied in Constantinople and in
Tifis where he learnt French, English and Russian. He was frst sent to Russia in 1876
at the request of the Turkish government to act as a mediator on behalf of captive
Turkish citizens. For full details on the letters included in this lot, please contact the
department.
*129
A QAJAR GOLD-OVERLAID STEEL
CIRCULAR TRAY
ISFAHAN, IRAN, SECOND HALF 19TH
CENTURY
The centre with seven interlaced roundels
alternated with single Persian letters, set within a
band of meandering vine inhabited by small angels
and animals, surrounded by a band scrolling vine,
foral meander and arcaded rim
18in. (47cm.) diam.
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
129
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
130
A GROUP OF FOLIOS FROM THE NASIR AL-DIN SHAH ALBUM
*130
A BIFOLIO FROM THE NASIR AL-DIN SHAH ALBUM
SIGNED MUHAMMAD HUSAYN BIN ABDULLAH, QAJAR IRAN,
CIRCA 1888
Polychrome paper heightened with gold laid down on card, the left hand
folio with a mirrored dcoup calligraphic composition of the words ali and
muhammad in gold textured paper on black ground, the other panel with
polychrome dcoup foral spray, the margins with overlaid geometric dcoup
shapes set inside gold rules, both signed, mounted, glazed and framed
Folio 18 x 12in. (46.3 x 30.7cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
131
The album from which these folios (lots 130-135) originate is a royal
one made for Nasir al-Din Shah Qajar (r.1848-1896) in 1888, probably to
commemorate the 40th anniversary of his accession to the throne. The
folios from the album ofered here include examples signed by Muhammad
Husayn Lalah bin Abdullah Zand (also stating that he was responsible for
the dcoup) and Muhammad Ibrahim al-Qumi (dated AH 1101/1689-90).
A number of the panels include inscriptions stating that they were based on
compositions by well-known calligraphers including Yaqut al-Mustasimi and
Imad al-Hassani.
Other folios from this very decorative album have sold in these Rooms,
10 October 2000, lots 88-91. More recently a large section of the album,
comprising 27 folios, was sold 6 October 2011, lot 265. The dedication page
was sold 26 April 2012, lot 219.
*131
A BIFOLIO FROM THE NASIR
AL-DIN SHAH ALBUM
CALLIGRAPHY SIGNED
MUHAMMAD IBRAHIM AL-QUMI,
SAFAVID IRAN, 16TH/17TH
CENTURY, MARGINS QAJAR IRAN,
CIRCA 1888
Ink and opaque pigments heightened
with gold on paper mounted on card, the
left hand folio with fve naskh and one
nastaliq Quranic compositions, several
signed Muhammad Ibrahim al-Qumi and
with various dates ranging from the end
of the 16th to the early years of the 17th
century, the right hand folio with 17ll. of
black naskh with gold verse roundels,
divided into two columns by gold rules
with polychrome foral dcoup borders,
the margins decorated in gold and
polychrome dcoup with leafy foliage
and geometry, mounted, framed and
glazed
Folio 18 x 12in. (46.3 x 30.7cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
*132
A BIFOLIO FROM THE NASIR
AL-DIN SHAH ALBUM
QAJAR IRAN, CIRCA 1888
132
$5,700-8,500
5,200-7,700
*133
A BIFOLIO FROM THE NASIR
AL-DIN SHAH ALBUM
MARGINS SIGNED MUHAMMAD
HUSAYN, QAJAR IRAN, CIRCA 1888
Opaque pigments heightened with
gold on paper, both folios with nastaliq
dcoup calligraphic compositions, one
in white and the other in red, set in black
clouds reserved against gold ground,
the gold and polychrome margins with
dcoup scrolls and foliage, the margins
signed Muhammad Husayn, within gold
rules, mounted, framed and glazed
Folio 18 x 12in. (46.3 x 30.7cm.)
5,000-7,000
133
$7,100-9,900
6,500-9,000
103
134
*134
*135
Opaque pigments heightened with gold on paper, both folios with dcoup
nastaliq compositions in white on blue ground with occasional gold letters and
polychrome and gold dcoup roundels, the left hand folio signed Muhammad
Husayn bin Abdullah, the margins with polychrome and gold dcoup
geometric shapes within gold rules, mounted, framed and glazed
Folio 18 x 12in. (46.3 x 30.7cm.)
Opaque pigments heightened with gold on paper, each panel with dcoup
muhaqqaq calligraphic compositions in cream, vocalisation markings in gold,
set against a grey ground punctuated with polychrome dcoup rosettes and
roundels one of which is inscribed in naskh with juz 28, spurious ascription to
Yaqut al-Mustasimi, the margins with gold dcoup foliage and punctuated
with polychrome roundels, set within gold rules, mounted, framed and glazed
Folio 18 x 12in. (46.3 x 30.7cm.)
5,000-7,000
5,000-7,000
$7,100-9,900
6,500-9,000
135
104
$7,100-9,900
6,500-9,000
136
136
A PORTRAIT OF ANIS AL-DAWLA,
WIFE OF NASIR AL-DIN SHAH QAJAR
SIGNED MUHAMMAD GHAFFARI KAMAL AL-MULK, QAJAR IRAN,
SECOND HALF 19TH CENTURY
Oil on canvas, Anis al-Dawla is depicted veiled with fowers in her hair, her
stomach visible underneath transparent muslin, wearing pearl bracelets, on
wooden stretcher, signed Kamal al-Mulk Muhammad Ghafari in red nastaliq,
on wooden stretcher
23 x 19in. (60.4 x 50.3cm.)
15,000-20,000
$22,000-28,000
20,000-26,000
The reign of Nasir al-Din Shah (1848-96) was one of change and
modernisation in Tehran. Nasir al-Din supported a local school of portraiture
which abandoned the style of Fath Ali Shah in favour of a Europeaninfuenced academic style, ranging from state oil portraits to watercolours of
unprecedented naturalism (Julian Raby, Qajar Portraits, London 1999, p. 56).
137
A PAIR OF FINE QAJAR LACQUER BOOK COVERS DEPICTING A
WEDDING OF NASIR AL-DIN SHAH
SIGNED MIRZA MUHAMMAD TAQI MUZZAHHIB ISFAHANI, TEHRAN,
IRAN, DATED AH 1263/1846-47 AD
Of rectangular form, fnely painted, each with four vignettes depicting lively
interior scenes including wedding processions, a hammam scene with
ladies and majlis depictions, the illustrations bordered with fne calligraphic
inscriptions in thuluth within cartouches and foral borders, name and titles
of Nasir al-Din Shah appearing in the borders, the reverse of each with erotic
scenes and couples in amorous embraces within rounded medallions, each in
frame with old French label
Each board 17 x 12in. (44 x 32.2cm.)
(2)
12,000-18,000
106
$17,000-25,000
16,000-23,000
INSCRIPTIONS:
On the front of the covers, in the small quatrefoil cartouches, dar zaman-e
daulat-e javid muddat-e ala hazrat-e qadr qudrat-e keyvan refat adal al-salatin
... wal-din * al-Sultan ibn al-Sultan ibn al-Sultan wal-Khaqan ibn al-Khaqan
Nasir al-Din khallada allah mulkahu wa sultanahu surat-e etman yaft 1263, It
was completed in the time of the eternal government of His Most Exalted
Highness, whose destiny is power, who is as exalted as Saturn, the most just
of Sultans wal-Din, the Sultan, son of the Sultan, and the Khaqan, son of the
Khaqan, Nasir al-Din Shah, may God perpetuate his Kingdom and Sultanate,
1263 [1846-47]
On the back of the covers, in the small quatrefoil cartouches, in tek juz jeld-e
nadereh negashteh khaneh ist por naqsh o negar al-haqq durj-e dorr o gohar
ast va matla-e shams o qamar * dar dar al-khilafah tehran hafat bil-amn walaman dar karkhaneh-ye aqall-e khalaiqa Mirza Muhammad Taqi Mudhahhib-e
Esfahani etmam yaft 1263 [1846-47], This pair of marvellous covers is a painted
house, full of designs and paintings, in truth it is a chest of pearl and gems
and the rising of the sun and the moon. Completed in Dar al-Khilafah, Tehran,
may it be surrounded by peace and security, in the workshop of the lowest of
creatures, Mirza Muhammad Taqi Mudhahhib-i Isfahani, 1263 [1846-47]
The many other inscriptions on the boards identify the scenes and include
Persian verses on the theme of couples and marriage.
The scenes depicted on boards include the various activities associated with
a wedding. On the the frst board these include the betrothal meeting, the
meeting for the presentation of sweets, the moment of the carrying of the
trousseau and the meeting for the execution of the contract and, on the back,
the wedding party. On the second board the scenes include the engagement
party, the presentation of sweets, the painting of a bath house, the bride
being shown to the bride-dresser, the moment of the carrying of the bride
and, on the back, the birth of the frst child.
107
*138
A PAIR OF QAJAR LACQUER
BOOK COVERS
ATTRIBUTABLE TO MUHAMMAD
ISMAIL, QAJAR IRAN, CIRCA 1865
Each of rectangular form with a detailed
depiction of the preparation of the
siege of Herat populated by numerous
soldiers, the second depicting the
taking of Turkman prisoners following a
victorious battle along the frontier, the
scene identifed in two small inscriptions
at the top in nastaliq, narrow foral
meander borders, the reverse of each
with gold medallion on red ground
Each 13 x 8in. (34 x 21.5cm.)
30,000-50,000
$43,000-71,000
39,000-65,000
PROVENANCE:
108
109
q139
QURAN
QAJAR IRAN, SECOND HALF OF
19TH CENTURY
Arabic manuscript on paper, 385f.
plus two fy-leaves, each folio with 12ll.
of black naskh, gold and polychrome
verse roundels, text panels outlined with
gold and blue rules, sura headings in
red naskh in gold outlined rectangular
cartouches with gold and polychrome
spandrels, opening bifolio with gold and
polychrome illumination surrounding
text in white clouds reserved against
gold ground, the margins decorated with
foral scrolls, the margin of the bifolio
of the start of sura maryam similarly
decorated with gold and polychrome
foral scrolls, in associated lacquer
binding with marbled design
Text panel 8 x 4in. (20 x 10.5cm.);
folio 10 x 7in. (27.5 x 17.8cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
139
q140
QURAN
SIGNED FAQIR MUHAMMAD,
QAJAR IRAN, DATED AH 1276/185960 AD
Arabic manuscript on paper, 218f. plus
sixteen fy-leaves, each folio with 18ll.
of strong black naskh within text panels
bordered by gold rules, illuminated
headings and marginal roundels,
commentary in shikasteh in gold clouds,
double page opening illumination,
colophon signed and dated, in earlier
lacquer binding with foral medallions on
black ground
6 x 3in. (16.2 x 8.8cm.);
folio 8 x 5in. (20.8 x 13.5cm.)
2,500-3,500
140
110
$3,600-5,000
3,300-4,500
q141
QURAN
COPIED FOR ABUL QASIM,
SIGNED MUHAMMAD HASSAN
BIN MUHAMMAD JAFAR, QAJAR
IRAN, DATED 18 JUMADA I AH 1243/7
DECEMBER 1827 AD
Arabic manuscript on paper, 213f. plus
four fy-leaves, each folio with 19ll. of fne
black naskh in gold clouds, fne illuminated
headings and marginal roundels,
commentary in shikasteh in gold clouds,
double page opening illumination in gold
and polychrome, preceded by another
double page with medallions, similar
illumination at end, the middle bifolio with
illuminated margins, colophon signed
and dated, in original lacquer binding with
gul-o bulbul motif, one board loose
Text panel 3 x 1in. (9 x 4.8cm.);
folio 4 x 2in. (12 x 7.5cm.)
5,000-7,000
$7,100-9,900
6,500-9,000
q142
A MINIATURE QURAN
SIGNED GHULAM ALI AL-ISFAHANI,
QAJAR IRAN, DATED 16 DHUL-HIJJA
AH 1251/3 APRIL 1836 AD
Arabic manuscript on paper, 169f. plus
three fy-leaves, each folio with 23ll. of fne
black naskh within text panels bordered by
gold strapwork, fne illuminated headings
and marginal roundels, double page
opening illumination, colophon signed
and dated, in original lacquer binding with
foral medallion on gold scrolling ground
between inscription borders also signed
and dated by Ghulam Ali al-Isfahani
Text panel 4 x 2in. (11 x 5.8cm.);
folio 3 x 5in. (8.8 x 14.3cm.)
4,000-6,000
141
$5,700-8,500
5,200-7,700
INSCRIPTIONS:
142
111
143
143
144
Composed of four widths of cotton, painted in red, yellow, green, blue and
black with a depiction of the battle of Chaldiran with Safavid Shah Ismail
striking the Ottoman Sultan Selim, both identifed with nastaliq inscriptions in
the centre, an army of soldiers surround them, the borders with printed boteh
motifs, two inscription cartouches, attached hanging loops to reverse, one
repaired split, minor patch repairs
135 x 70 in. (343 x 180cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
4,000-6,000
$5,700-8,500
5,200-7,700
144
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
145
A PAIR OF QAJAR PAINTED AND
GESSO APPLIED WOODEN DOORS
ATTRIBUTABLE TO THE IMAMI
WORKSHOP, ISFAHAN OR TEHRAN,
IRAN, LAST QUARTER 19TH
CENTURY
Each door of rectangular form with
vertical panels fanked above and below
by horizontal panels, the vertical panels
each with a central polychrome fgural
cartouche fanked by similar smaller
fgural and calligraphic cartouches and
spandrels on a ground of gold-outlined
fgural scenes, large animal combat and
hunting scenes decorate the panels
forming the upper and lower sections,
the borders with large fgures set in
cusped medallions alternated with
minor medallions with depictions of
the signs of the zodiac, two medallions
reserved against a ground of scrolling vine
inhabited with animal combat scenes,
surrounded by an outer border of stylised
cloudbands, the reverse plain with hinge
attachments to the upper outer corners
Each door 76 x 21in. (193.8 x 54cm.)
10,000-15,000
$15,000-21,000
13,000-19,000
INSCRIPTIONS:
113
*146
A ELEGANT LADY
QAJAR IRAN, 19TH CENTURY
Opaque pigments heightened with gold on paper, the lady stands in a
landscape wearing elaborate foral robes and coyly lifting back her long white
veil, clouds and foral sprays surround her, laid down between minor foral
borders on wide cobalt margins decorated with gold foral vine, a Turkish seal
impression in the lower left hand corner, backed with card, mounted
Painting 4 x 3in. (11.5 x 8cm.); folio 10 x 7in. (26.6 x 19cm.)
3,000-5,000
146
147
A COURTESAN WITH A LUTE
QAJAR IRAN, 19TH CENTURY
Opaque pigments heightened with gold on paper, the Safavid-style courtesan
wearing gold and polychrome robes, plays a lute, beyond her a background
decorated in gold with a large tree, several fowering plants and stylised
cloudbands in gold, the margins with stylised blue cloudbands on gold ground,
bordered by gold and polychrome rules
Painting 7 x 4in. (19.8 x 10.5cm.); folio 9 x 5in. (23.3 x 13.8cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
147
114
$4,300-7,100
3,900-6,500
115
148
AN ILKHANID STAR TILE
SULTANABAD, FIRST HALF 14TH CENTURY
The eight-pointed star with a moulded central
lotus fowerhead surrounded by and issuing leafy
tendrils, the design reserved against a cobalt-blue
ground with details picked out in black, in a plain
black border, intact
7in. (20cm.) across
4,000-6,000
$5,700-8,500
5,200-7,700
PROVENANCE:
148
149
150
4,000-6,000
3,000-5,000
$5,700-8,500
5,200-7,700
151
$4,300-7,100
3,900-6,500
PROVENANCE:
PROVENANCE:
INSCRIPTIONS:
INSCRIPTIONS:
5,000-7,000
$7,100-9,900
6,500-9,000
PROVENANCE:
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
149
150
151
117
152
A LARGE BLUE AND WHITE IZNIK POTTERY BORDER TILE
OTTOMAN TURKEY, CIRCA 1540-1545
The rectangular tile with one bevelled edge, the white ground painted in
cobalt-blue and turquoise, the main register with a stencilled rosette bordered
by palmettes and linked through scrolling vine and issuing curling saz leaves,
all reserved against cobalt-blue ground, the edge with a similar but smaller
scale design in cobalt-blue on turquoise ground, each register with blue and
white minor borders, intact
4 x 19in. (12.4 x 49.2cm.)
12,000-18,000
$17,000-25,000
16,000-23,000
PROVENANCE:
153
A BLUE AND WHITE IZNIK POTTERY DISH
OTTOMAN TURKEY, LATE 16TH CENTURY
With sloping rim on short foot, the white ground painted in cobalt-blue with a
central rosette within a series of concentric circles bordered with large cupsed
lappets, the border with stylised wave-and-rock motif, the exterior with
alternating trilobed and roundel motifs, intact
11in. (29.2cm.) diam.
8,000-12,000
$12,000-17,000
11,000-15,000
154
A BLUE AND WHITE HEXAGONAL IZNIK TILE
OTTOMAN TURKEY, CIRCA 1530
The white ground decorated in cobalt-blue and turquoise with a design of
radiating arabesques fanking palmettes executed in two shades of blue,
simple line border, minor surface chips
7in. (17.8cm.) across
6,000-8,000
$8,500-11,000
7,800-10,000
PROVENANCE:
152
Tiles of this design are associated with the facade of the Snnet Odasi in
the Topkapi Saray Palace (Venetia Porter, Islamic Tiles, London, 1995, p.106).
These tiles were made over a period when the technology was changing at
Iznik. As a result one can fnd diferent glaze surfaces on diferent examples.
Other examples of the same design can be found in many museum
collections including the Gulbenkian Museum (Calouste Gulbenkian Muse,
Catalogue, Lisbon, 1982, no.122, p.191), the Fogg Art Museum, the Victoria
and Albert Museum (Arthur Lane, A Guide to the Collection of Tiles, London,
1960, pl.13), and the Sadberk Hanim Museum, Istanbul (Laure Soustiel,
Splendeurs de la ceramique Ottomane, exhibition catalogue, Paris, 1999,
no.14, p.66). A similar tile sold in these Rooms, 27 April 2004, lot 57.
153
154
155
A LARGE AND IMPRESSIVE EARLY IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1530
With cusped sloping rim on short foot, the white ground painted in blue
and turquoise with a central roundel containing bunches of grapes issuing
from a vine with scalloped leaves and scrolling tendrils, the cavetto with an
alternating design of similar palmettes issuing small leaves, the border with
stylised wave design with regularly spaced small turquoise tufts, the exterior
with similar palmettes to those on the cavetto, the underside with a series of
concentric blue circles, minor fritting to rim, intact
17in.(44.5cm.) diam.
300,000-400,000
$430,000-570,000
390,000-520,000
From the late 1520s Iznik potters began to imitate Chinese porcelains. Those
copied were generally of the Yuan and early Ming dynasties of the 14th and
15th centuries, examples of which found their way in great quantities into
the Islamic world. Of all the Chinese prototypes that existed in the Topkapi
Palace collections and were copied by the potters at Iznik, it was the grape
design that proved the most popular. It is clear that the grape design also
found particular favour at other royal courts throughout the Islamic world the Mahin Banu grape dish for instance which recently sold at Sothebys,
New York, 17-18th March 2015, lot 264, was treasured at the Safavid Court
and later came into the personal possession of the Mughal Emperor Shah
Jahan.
Atasoy and Raby, in a long discussion on the group, write that the potters
of Iznik were faithful to the aesthetic of their Chinese forerunners but
indifferent to their niceties as is evidenced by their irregular treatment
of the design which was allowed more freedom of interpretation than the
120
original (Nurhan Atasoy and Julian Raby, Iznik, The Pottery of Ottoman Turkey,
London, 1989, pp.121-124). This dish is quite faithful to many of the original
Chinese designs. In particular the rim with its fine swirling lines with strong
cusping is unusually fine. The design of the rim relates closely to a grape
dish, formerly in the Homayzi collection, which Julian Raby dates to circa
1525-30 (Atasoy and Raby, op.cit., no.313). The Homayzi dish has a very
closely related arrangement and outline of the grapes. Our dish however uses
turquoise glaze to a much greater extent and with much more confidence
- highlighting elements in both the designs of the cavetto and the rim. This
abundant use of turquoise is paralleled on another grape dish in the Sadberk
Hanim Museum which Hlya Bilgi dates to circa 1530-40 (Hlya Bilgi, Dance
of Fire: Iznik tiles and Ceramics in the Sadberk Hanim Museum and mer M.
Ko Collections, Istanbul, 2009, no.16, p.77).
This dish is remarkable for its size. It appears to be the largest known
surviving grape dish. A large dish of similar period is in the Antaki collection.
That measures 45.5cm. in diameter and has a closely related design in the
cavetto but a different and unusual motif in the well of a tree. That is dated
by Raby to circa 1530-35 (Atasoy and Raby, op.cit., fig.316). It is probable that
our dish of comparable size was produced at similar date. Julian Raby in his
research into the size of Iznik dishes and their classification cites a secondary
source called the narh defteri of 1640, which identifies the largest size of
dish as 42cm. in diameter (Atasoy and Raby, op.cit., p.43). Raby remarks also
that the largest size of dish ranging from 42cm. up to 45.5cm. were only
produced in the early period of Iznik production from circa 1480-1530. In
terms of function he theorises that these large dishes would have been used
for special imperial banquets in which large quantities of food would have
been served.
121
156
AN IZNIK POTTERY TILE
OTTOMAN TURKEY, CIRCA 1600
The white ground decorated in cobalt-blue, bolered, green and black with a central vase issuing
curling blooms of roses and carnations, the vase
fanked by long branches of tulips and carnations,
hair crack, otherwise intact, in wood frame
10 x 10in. (27.3 x 27.3cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
PROVENANCE:
156
157
158
With sloping rim on short foot, the white ground decorated in cobalt-blue,
bole-red, green and black with a foral spray comprising tulips, carnations,
palmettes and saz leaves issuing from long swaying branches, the rim with
wave-and-rock motif, the exterior with alternating green and blue motifs, foot
chipped and drilled, intact
12in. (30.7cm.) diam.
With sloping rim on short foot, the white interior decorated in cobalt-blue,
bole-red, green and black with a large swaying hyacinth sprig surrounded
by a foral spray composed of hyacinths, carnations and roses, the border of
reciprocal cusped palmettes on green ground, the exterior with alternating
blue lozenges and green roundels, old collectors label to base, foot drilled,
intact
11in. (29.5cm.) diam.
1,500-2,500
$2,200-3,500
2,000-3,200
159
2,000-3,000
$2,900-4,200
2,600-3,900
160
With sloping rim on short foot, the white ground decorated in blue, red, green
and black with a central swaying saz leaf surrounded by a foral spray issuing
tulips, carnations and leaves, the rim with wave-and-rock design, the exterior
with alternating small blue palmettes and green swirls, large chip to exterior,
glaze with fne crackelure
12in. (31.1cm.) diam.
With sloping rim on short foot, the white ground decorated in cobalt-blue,
bole-red, green and black with a central saz leaf surrounded by a dense foral
scroll, the border with wave-and-rock design, the glaze with occasional gilt
highlights, the exterior with alternating green trilobed and blue swirl motifs,
foot drilled and chipped, otherwise intact, old collectors number to underside
11in. (28.8cm.) diam.
700-1,000
3,000-5,000
122
$990-1,400
910-1,300
$4,300-7,100
3,900-6,500
157
158
159
160
123
161
AN IZNIK POTTERY JUG
OTTOMAN TURKEY, CIRCA 1560-1565
Of baluster form on short foot rising to gently faring mouth, simple loop handle, the white body decorated
in cobalt-blue, bole-red, green and black with two fnely painted registers of alternating swaying sprays of
carnations and hyacinths, the mouth and waist with a strapwork band forming alternating triangle motifs,
intact
9in. (22.8cm.) high
15,000-25,000
$22,000-35,000
20,000-32,000
This jug has unusually fne and precise design for Iznik pottery. It shares this feature, as well as the
overall conceit of its design with a jug, attributed to 1560-65, formerly in the Barlow Collection which
sold at Bonhams, 29 April 2004, lot 193 (also published in Nurhan Atasoy and Julian Raby, Iznik. The
Pottery of Ottoman Turkey, London, 1989, no.430).
161
124
162
AN IZNIK POTTERY JUG
OTTOMAN TURKEY, CIRCA 1560
Of baluster form on short foot rising to a gently faring mouth, simple loop
handle, the white body decorated in cobalt-blue, green and black with two
registers of white foliate scrolls issuing palmettes and fowerheads, the base
with a broad white band between black rings, the waist with a stippled white
band with green fringing, the mouth with a band of black spirals on green
ground, excellent glaze, handle replaced, hairline crack in mouth
8in. (21.5cm.) high
12,000-18,000
$17,000-25,000
16,000-23,000
PROVENANCE:
Adda Collection, Alexandria, sold Palais Galliera, Paris, 3 December 1965, lot
813
with Cyril Humphris
Private London Collection, sold in these Rooms, 19 October 1995, lot 311
Sold in these Rooms, 26 April 2005, lot 71
LITERATURE:
Bernard Rackham, Islamic Pottery and Italian Majolica, London, 1959, no.71,
p.28 and pl.35A
162
163
AN IZNIK POTTERY JUG
OTTOMAN TURKEY, CIRCA 1590
Of baluster form on short foot rising to faring mouth, simple loop handle, the
white ground decorated in cobalt-blue, bole-red, green and black, the body
with alternating tulip sprays with broken stems and foral sprays crossed at the
base by carnations, the neck with a similar simplifed design, between simple
leaf and lobed motif bands
8in. (21.5cm.) high
8,000-12,000
$12,000-17,000
11,000-15,000
PROVENANCE:
163
125
164
AN IZNIK POTTERY TILE
OTTOMAN TURKEY, CIRCA 1595
The white ground decorated in cobalt-blue, bole-red, green and black with a central
rosette surrounded by scrolling vine issuing cusped palmettes, foral buds and small saz
leaves, minor chips to edges, otherwise intact
9 x 9in. (24.9 x 24.9cm.)
5,000-7,000
$7,100-9,900
6,500-9,000
PROVENANCE:
165
AN IZNIK POTTERY BORDER TILE
OTTOMAN TURKEY, CIRCA 1590
The white ground painted in cobalt-blue, bole-red, green and black with a crisp design of
scrolling vine leaves issuing bunches of grapes, the design reserved against cobalt-blue
ground, minor red borders to either side, one minor chip to rim, otherwise intact, on
metal stand
3 x 8in. (9.9 x 21cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
PROVENANCE:
With Spink & Son Ltd, London, 18th June 1996, from whom purchased by the present
owner
Identical tiles to that ofered here compose the border of a large Iznik panel in the
Louvre, dated to the end of the 16th century (inv.3919-2-252; Arabesques et jardins de
paradis, Paris, 1989, p.44, fg.21). A single tile of the same design is the mer M. Ko
collection (Hlya Bilgi, Dance of Fire. Iznik Tiles and Ceramics in the Sadberk Hanim
Museum and the mer M. Ko Collections, exhibition catalogue, Istanbul, 2009, no.76,
p.166). Similar border tiles are found in the library of the Hagia Sophia.
166
AN IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1585
With sloping rim on short foot, the white ground painted in cobalt-blue, bole-red, green
and black with a central cypress tree fanked by two large swaying saz leaves, foral
sprays issuing carnations, tulips, fower buds and leaves weave around them, with waveand-rock border, the exterior with alternating roundel and trefoil motifs, rim and foot
drilled for hanging, minor chipping to rim, intact, very good glaze surface
12in. (31.5cm.) diam.
25,000-35,000
$36,000-50,000
33,000-45,000
Cypress trees appear in Ottoman wall-painting of the 15th century. The frst use of the
motif in Iznik is in the Baba Nakka phase of the 1520s, but it only gained in popularity
with the adoption of relief red in the 1560s (Nurhan Atasoy and Julian Raby, Iznik. The
Pottery of Ottoman Turkey, London, 1989, see nos.427-434 for examples of the design).
It was then frequently used through the second half of the 16th century. Most of the
Iznik dishes that use a cypress tree as part of their decoration do so with it as the
centrepiece for a symmetrical design. Our dish is unusual for the whimsical way that
the two saz leaves swirl in the same direction, breaking any normal sense of symmetry.
165
166
127
167
A RARE FIGURAL RIMLESS IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1570
With gently curving sides and no rim, the white interior
painted in cobalt-blue, turquoise, bole-red, green and black
with an energetically drawn turbaned rider contemplating
a fast fowing stream flled with green fsh amidst fanciful
fowers and birds, the thin border with white clouds
reserved against blue, the exterior with alternating blue
motifs, rim chips, the largest with fred replacement and
small hairline crack, foot drilled in two places, old owners
stickers to base, excellent condition and glaze surface
11in. (30cm.) diam.
70,000-100,000
$100,000-140,000
91,000-130,000
PROVENANCE:
Fernand Adda, Alexandria, sold Palais Galliera, Paris, 3 December 1965, lot 893
Eskenazi, Milan
Private Italian Collection, sold Christies, London, 17 June 1999, lot 1
LITERATURE:
Bernard Rackham, Islamic Pottery and Italian Majolica, London, 1959, no.196A, pp.142-3, pl.226
Iznik vessels of the 16th century depicting the human fgure are very rare indeed. Only one other dish, in a private collection and
formerly in the J. Acherof Collection, can clearly be dated to the 16th century. It uses as its main design two human fgures (Arthur
Lane, Later Islamic Pottery, London, 1957, pl.43A, dated about 1560-80). Nurhan Atasoy and Julian Raby date it later, to 15901600, but still within the 16th century (Nurhan Atasoy and Julian Raby, Iznik, the Pottery of Ottoman Turkey, London, 1989, pl.609).
Unlike the static nature of the Acherof dish, the artist who painted the present example flls it with a vitality which is very unusual
in the attempt to convey movement. The head of the horse is very fuently drawn, and the bird hovering over the horses head is
masterly. There is no apparent iconographic source for the design; it comes straight from the imagination.
One small clue which links this dish with two other Iznik vessels which are themselves most unusual is the irregular blue line at the
bottom of the dish. The pattern of this line is very close to that on two very similar dishes, each of which depicts a bird in the centre
of scrolling panels outlined by similar lines. The bird in the centre is again very fuently drawn, but a quick inspection again shows
a complete lack of any attempt to recreate normal proportions. One of these dishes is in the inili Ksk, Istanbul (Atasoy and Raby,
op.cit, pl.761); the other, whose present location is unknown, is known from a drawing in the acquisition records of General PittRivers, formerly at the Pitt-Rivers Museum, Farnham, having been purchased at Philipps on 12 June 1883.
128
168
A LARGE IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1590
With sloping rim on short foot, the white ground painted in cobalt-blue, red,
green and black with a central roundel flled with elegant rumi motif on green
ground, the cavetto with a band of alternating blue and red cusped motifs,
the border with wave-and-rock pattern, the exterior with alternating green
rosettes and blue stylised foral sprays, foot drilled, repaired breaks, small
areas of restoration
14in. (35.5cm.) diam.
8,000-12,000
$12,000-17,000
11,000-15,000
PROVENANCE:
168
169
AN IZNIK-STYLE POTTERY TANKARD
SIGNED SAMSON, FRANCE, LATE 19TH CENTURY
Of slightly waisted cylindrical form with angular handle, the white ground
decorated with curling saz leaves alternated with fowers on long stems,
branches of tulips above and below, bordered by bands of strapwork, the base
signed, chips to rim, otherwise intact
8. (21.6cm.)
1,000-1,500
$1,500-2,100
1,300-1,900
169
170
A FIGURAL IZNIK POTTERY DISH
OTTOMAN TURKEY, FIRST HALF 17TH CENTURY
With sloping rim on short foot, the white ground painted in cobalt-blue, bolered, green and black with a central kneeling fgure with a huqqa to his side, the
pipe running through his hands, hyacinth and tulip sprays surround, the rim
with alternating rosettes and foral sprays between black bands, some chips
and staining to rim, the exterior with alternating green and blue motifs, foot
drilled
10in. (26.7cm.) diam.
4,000-6,000
170
$5,700-8,500
5,200-7,700
PROVENANCE:
With Spink & Son LTD, London, 6th February 1980, from whom purchased by
the present owner
130
171
AN IZNIK POTTERY TILE
OTTOMAN TURKEY, CIRCA 1590
The white ground decorated in cobalt-blue, bole-red,
green and black with a central large feshy palmette
issuing saz leaves and scrolling vine, further half
palmettes to the edges of the tile, the corners with two
part rosettes, tile cut down, intact
9 x 8in. (24.8 x 21.8cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
PROVENANCE:
With Spink & Son Ltd, London, 25th April 1995, from
whom purchased by the present owner
171
172
AN IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1600
With sloping rim on short foot, the white ground
painted in cobalt-blue, bole-red, green and black
with a central roundel flled with four crouching
or sitting animals reserved against green ground,
surrounded by a ring of red palmettes, the rim with
a band of wave-and-rock motif between simple
black bands, the exterior with alternating small
green and blue motifs, foot drilled, old collectors
label to underside, hair crack, intact
12in. (30.8cm.) diam.
8,000-12,000
$12,000-17,000
11,000-15,000
172
131
VARIOUS PROPERTIES
*173
A PERI
ATTRIBUTED TO SHAH QULI, OTTOMAN
TURKEY, QAZVIN STYLE, MID 16TH
CENTURY
Ink heightened with gold on paper, the winged peri
wears robes ornately decorated at the sleeves and
neck and a large leafy hat, a gold-covered book
in its arms, ascription to Behzad and date of AH
916 [1510-11 AD] in the lower right hand corner,
laid down between minor blue and pink borders on
wide buf margins decorated with silver reciprocal
palmettes flled with gold foral motifs, losses to
borders and margins, minor areas of staining
Drawing 5 x 2in. (13 x 7cm.);
folio 10 x 8in. (26.6 x 21.1cm.)
12,000-18,000
$17,000-25,000
16,000-23,000
q174
Arabic manuscript on paper, 346f. plus two fyleaves, each folio with 13ll. of strong black naskh,
gold and polychrome rosette verse roundels, sura
headings in gold thuluth, ashr marked in gold
and polychrome marginal roundels, juz marked
in gold thuluth in the margins, opening folio with
carpet page illumination followed by bifolio with
elegant illumination framing 5ll. of naskh in clouds
reserved against cross-hatched ground, colophon
signed and dated, and with the later owners
name written in bold blue naskh on either side,
restorations to opening and closing folios, in later
Mamluk-style brown morocco with fap decorated
with stamped and gilded geometric lattice
Folio 9 x 6in. (25.1 x 17.2cm.)
20,000-30,000
174 (shamsa)
132
$29,000-42,000
26,000-39,000
174
133
AN ILLUSTRATED BIFOLIO FROM THE SIYAR-I NABI MADE FOR SULTAN MURAD III
(R. 1546-1595)
*175
ZEYNAB IS BROUGHT FROM MECCA ON A CAMEL
THE TEXT COPIED BY MUSTAFA BIN YUSUF BIN UMAR AL-MEVLEVI
AL-ERZERUMI, OTTOMAN TURKEY, THE TEXT DATED AH 1003/15941595 AD
Opaque pigments heightened with gold on paper, the veiled and nimbate
fgure of Zeynab sits upon a camel and is taken to a cave by her brother-in-law
Zayd bin Harith, two fgures follow, one mounted on horseback, the rocky cave
and palms on the horizon, 2ll. of bold black naskh above and below in clouds
reserved against gold ground, the verso and second folio each with 13ll. of
similar bold naskh, important words and phrases picked out in red, text within
thick gold rules, catchwords, margins folded
Painting 7 x 6in. (19.6 x 17.5cm.); text panel 11 x 7in. (29.2 x 18.1cm.);
folio 14 x 10in. (37.3 x 27.2cm.)
50,000-70,000
$71,000-99,000
65,000-90,000
During the fnal years of his reign, Sultan Murad III (r. 1574-95) commissioned
one of his most important and impressive projects a six volume copy of
the Kitab Siyar al-Nabi, The Life of the Prophet. The text was composed by
Mustafa bin Yusuf bin Umar al-Mevlevi al-Erzerumi, known as al-Dharir (the
Blind). Al-Dharir was ordered by the Mamluk Sultan al-Mansur (d. 1376) to
translate and expand the 13th century Arabic work of Abul-Hassan al-Bakri
al-Basri. His fnished work was presented to al-Mansurs successor Sultan
al-Salih Salah al-Din in 1388. Murad IIIs copy, from which our folios come,
was the frst illustrated version of the work.
The text was an enormous commission it was composed in six volumes
with a total of 814 paintings and was only completed in 1595, the frst year
of the reign of Murad IIIs successor, Mehmet III (r. 1595-1603). Volumes I,
II and VI remain in the Topkapi Saray Museum, volume III is in the Spencer
Collection of the New York Public Library and volume V is apparently
lost (Toby Falk (ed.), Treasures of Islam, Geneva, 1985, pp.136-37, no.110).
Volume IV was separated from the others and was, for a time, in the private
134
176
A PAIR OF IZNIK POTTERY TILES
OTTOMAN TURKEY, CIRCA 1575
Each of rectangular form, the white ground of each
painted in cobalt-blue, bole-red, and green with
black outlines, with curved stylised cloudbands
interlaced with saz leaves surrounding a central
rosette
Each 5 x 8in. (14.1 x 22cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
PROVENANCE:
VARIOUS PROPERTIES
*177
A SILK AND METAL-THREAD VELVET PANEL FRAGMENT
OTTOMAN TURKEY, FIRST HALF 17TH CENTURY
Of rectangular form trimmed on both sides, decorated with a cusped medallion containing
a foral spray, set on a ground of scrolling vine issuing tulips bordered by a lattice containing
lozenges, the lattice headed with a large cintamani medallion, backed on grey cotton with a
velcro strip along the top edge, splits and areas of threading
43 x 23in. (109.3 x 60.3cm.)
3,000-5,000
$4,300-7,100
3,900-6,500
A length of velvet with an identical design is dated by Nurhan Atasoy to the frst half of the
17th century (Nurhan Atasoy, Walter B. Denny, Louise W. Mackie and Hlya Tezcan, Ipek,
The Crescent and the Rose, Imperial Ottoman Silks and Velvets, London and Istanbul, 2001,
fg.102, pp.214-15).
178
A SILK AND METAL-THREAD VELVET PANEL
OTTOMAN BURSA, TURKEY, 17TH CENTURY
The rectangular panel composed of two loom widths joined at the centre, the border with
large rosettes separated by addorsed carnations, the feld with a lattice containing palms
issuing from a small tulip, a horizontal repair across the centre where the panel has been
slightly reduced
64 x 49in. (163.8 x 124.5cm.)
7,000-10,000
$10,000-14,000
9,100-13,000
A velvet with an identical design and border is in the collection of the State Historical
Museum in Moscow and is dated by Nurhan Atasoy to the mid-17th century (Nurhan
Atasoy, Walter B. Denny, Louise W. Mackie and Hlya Tezcan, Ipek, The Crescent and the
Rose, Imperial Ottoman Silks and Velvets, London and Istanbul, 2001, fgs.315-16, p.307).
177
178
137
179
A FINE RIMLESS IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1575
On short foot, the white interior fnely decorated in cobaltblue, strong bole-red, green and black with a central
cypress tree framed by two scrolling saz leaves, the
interstices flled with elegant large rosettes, carnations
and tulips, the border with cusping reserved against
cobalt-blue ground, the exterior with alternating rosettes
and paired tulips, foot drilled, old collectors labels to base,
small repair to rim
11in.(29.8cm.) diam.
60,000-80,000
$85,000-110,000
78,000-100,000
PROVENANCE:
138
q180
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
180
q181
QURAN
SIGNED AHMAD, CONSTANTINOPLE, DATED END OF SHAWWAL AH
1133/AUGUST 1721 AD
Arabic manuscript on paper, 397f. plus fve fy-leaves, each folio with 13ll. of
elegant black naskh, gold and polychrome verse roundels, sura headings in
white rayhani on gold ground set within rectangular cartouches with foral
decoration at either end, text panels bordered by gold rules, catchwords,
cusped marginal medallions making juz, hizb and sajada, the opening bifolio
with gold and polychrome illuminated headings and borders, colophon signed
and dated in triangular cartouche fanked by gold and polychrome foral
illumination, in gilded and tamped red morocco binding with green satin
doublures
Text panel 4 x 2in. (12 x 7cm.); folio 7 x 4in. (17.8 x 12cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
Although not much is known of this scribe who signs himself only as Ahmad,
the colophon here states that this was the 45th Quran that he copied.
181
q182
$4,300-7,100
3,900-6,500
q183
182
183
INSCRIPTIONS:
This manuscript includes a selection of suras from the Quran, the yedi ayat
(7 ayas from the Quran), prayers on the asma al-husna, the asma al-husna, the
names of the Prophet, Hilyehs of the Prophet Muhammad and the Four Rightly
Guided Caliphs, prayers for forgiveness and guidance, the prayer of the treaty,
the prayer of the call to prayer, types of prayer to be said while worshipping,
prayer to be said during fve daily prayers, prayer to be said at funerals and
prayer to be said on Eid al-Adha.
$7,100-9,900
6,500-9,000
141
*184
A PAPIER-MCH LACQUERED
PENCASE (QALAMDAN)
OTTOMAN TURKEY,
17TH/18TH CENTURY
Of rectangular form with rounded ends
terminating in triangular points, on short
cusped feet, the hinged rounded lid
revealing a compartment within, with
chains attaching either end of the body
to the lid, brass ink-wells, painted with
gold and polychrome foral designs, the
underside painted red, areas of rubbing
and surface crackelure
14in. (36.8cm.) long
3,000-5,000
184
185
A WOODEN SCRIBES BOX
OTTOMAN PROVINCES,
16TH/17TH CENTURY
Of rectangular form with sliding lid, the
sides densely engraved with a series
of niches springing from columns and
flled with vases of fowering vine, the
top with a central medallion flled with
rosettes, each surface with a border of
foral scrolls, the interior with fxed penbox, one side with remains of lock, some
minor losses
19 x 10 x 7in. (49 x 26.4 x 18.4cm.)
4,000-6,000
$5,700-8,500
5,200-7,700
142
$4,300-7,100
3,900-6,500
185
q186
$7,100-9,900
6,500-9,000
INSCRIPTIONS:
The seal impressions include one of an Ali Akbar, dated AH 1020/1611-12 AD and a Qajar seal with the
name Ali. There is also an inspection seal of the Gulestan Palace Library dated AH 1309/1891-92 AD.
This fne manuscript, produced under the reign of Sultan Suleyman the Magnifcent (r. 1520-66),
follows in the tradition of imperial Ottoman manuscript production of the late 15th and early 16th
centuries. Both the binding and the illumination at the beginning of the manuscript bear close
resemblance to those of a Quran copied by Shaykh Hamdullah and dated 14 Safar AH 905/14
September 1499 AD (Julian Raby and Zeren Tanindi, Turkish Bookbinding in the 15th Century, London
1993, no.41, pp.208-13).
143
188
187
187
A NIELLOED SILVER SHORT SWORD (KINJAL)
SOUTH CAUCASUS, PROBABLY GEORGIA,
SECOND HALF 19TH CENTURY
The double-edged blade of typical form tapering to fne point with raised ridge
and gutters on either side, forte stamped with makers mark in Cyrillic, the face
of the sheath and the hilt with intricate engraved foral scrolls in raised relief,
the reverse of the sheath and hilt with engraved and nielloed scrolling vegetal
motif, with bands of raised beadwork around the chape and the grip, round
bulbous pommel
19in. (49.4cm.) long
4,000-6,000
$5,700-8,500
5,200-7,700
188
A JADE-HILTED DAGGER
OTTOMAN TURKEY, 19TH CENTURY
The watered-steel blade with a curved point, the forte with gold-damascened
scrolling vine and a styliszed kufc inscription on one side and a band of similar
kufc fanked by scrolling vine on the other, the faceted grey hilt with very light
green and white inclusions, the pommel with a turquoise knop, minor repair to
the tip of the blade
14in. (36.2cm.) long
4,000-6,000
$5,700-8,500
5,200-7,700
189
A REPOUSS SILVER AND GOLD-DAMASCENED SHORT
SWORD (YATAGHAN)
SIGNED BY UMAR, OTTOMAN TURKEY OR BALKANS,
DATED AH 1229/1813-14 AD
The single-edged steel blade of typical form tapering to a fne point, gutter
running along the upper edge, one side of the blade decorated with ten
gold damascened cartouches containing lines of naskh one bearing a date,
the cartouches set against a ground of scrolling vine, the forte with similar
decoration, the other side of the blade with two cartouches each with two
lines of overlapping naskh on similar ground, the hilt of typical bifuricated form
with parcel-gilt silver repouss panels of rococo design, the scabbard similarly
decorated with additional fligree decoration and nielloed foral sprays on
either side
31in. (78.8cm.) long
12,000-18,000
$17,000-25,000
16,000-23,000
INSCRIPTIONS:
On one side of the blade, Couplets in Ottoman Turkish about the sword, asking
for Gods assistance against the enemy and ending in praise of Muhammad
and with the phrase, There is no hero but Ali and no youth but Dhul-Fiqar.
Followed by the date AH 1239/1823-24 AD
On the other side of the blade, amal umar sahib tecelli mustafa, Made by
Umar, owner Tajalli Mustafa
189
145
190
AN IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1580
With sloping rim on short foot, the white ground
painted in cobalt-blue, bole-red and green with a
central foral spray composed of swaying branches
of carnations fanked by hyacinths and tulips on
short stems, the rim with a band of alternating red
fowerheads and paired blue tulips, the exterior
with alternating blue fowerheads and paired
tulips, restoration to rim, foot drilled
12in. (30.5cm.) diam.
10,000-15,000
190
Y*191
A GEMSET NEPHRITE-HILTED KNIFE
OTTOMAN TURKEY, 18TH CENTURY
In the form of a miniature kard with a single-edged watered-steel blade
tapering to fne point, one side with calligraphic gold-damascened decoration
and inset rubies and emeralds, the other side with gold-damascened spandrel,
the forte with further inset stones, the pommel with a ruby in a rose setting, the
gold repouss sheath with rococo design, the face with inset ruby and emerald
spray, chain attached with emerald bead, in green velvet case
4in. (11.3cm.) long
2,000-3,000
$2,900-4,200
2,600-3,900
A similar dagger is in the Walters Art Museum and was recently included in
their exhibition, Pearls on a String: Artists, Patrons and Poets at the Great
Islamic Courts, there catalogued as late 18th/19th century (inv. 51.79; http:/
art.thewalters.org/detail/15555/miniature-dagger/). It was suggested that
the knife was designed to ft into the butt of the jewelled rife of Mahmud
I (r. 1730-54). Indeed the work on the rife, and that on the various tools
designed to be kept inside, is very similar to that on our dagger, suggesting
a similar period of manufacture (Amy S. Landau (ed.), Pearls on a String:
Artists, Patrons, and Poets at the Great Islamic Courts, exhibition catalogue,
Baltimore, 2015, pp.222-28).
146
191
$15,000-21,000
13,000-19,000
~192
A GROUP OF OTTOMAN SHERBET SPOONS
TURKEY, 18TH/19TH CENTURY
Comprising a variety of examples fashioned in wood, ivory, walrus ivory, coral, mother-of-pearl,
tortoiseshell, horn and ebony, many with added engraving or decoration to the shafts in coral, brass and
other materials, minor losses
The longest 10in. (26.2cm.)
(21)
10,000-15,000
$15,000-21,000
13,000-19,000
A similar group of sherbet spoons is in the Al-Sabah Collection (inv.LNS 102W a-j; Giovanni Curatola,
Art from the Islamic Civilization from the al-Sabah Collection, Kuwait, Milan, 2010, no.147).
147
193
AN UNUSUAL IZNIK POTTERY DISH
OTTOMAN TURKEY, CIRCA 1590
With sloping rim on short foot, the white ground decorated in cobalt-blue, turquoise, bole-red
and black with central cusped medallion containing a foral spray and bordered by small
palmettes, the medallion framed with sprigs of turquoise fowerheads all on a striking ground
of dense scrolls, the border with wave-and-rock motif, the exterior with alternating roundels
and lozenges, repaired breaks, foot drilled, old collectors label to the underside
12in. (31.1cm.) diam.
50,000-70,000
$71,000-99,000
65,000-90,000
PROVENANCE:
149
194
A RARE TERRA LEMNIA UNGLAZED POTTERY JUG
OTTOMAN TURKEY, 19TH CENTURY
Of squat baluster form with waisted cylindrical neck and
simple loop handle, the body with an elegant openwork band
formed of linked quatrefoil motifs, fanked by bands of incised
geometric motifs, the shoulder and neck with registers of gilt
foral and geometric motifs, a makers seal stamp underneath
the base of the handle, remains of flter in the neck, traces of old
collectors label and an inventory number on the underside of
the foot, losses to gilding, chips to rim, otherwise intact
6 in. (16.8cm.) high
4,000-6,000
$5,700-8,500
5,200-7,700
INSCRIPTIONS:
Beneath the base of the handle, amal falak ali hassan, work of
Falak Ali Hassan
194
Since antiquity the white and red clay found on the Aegean
island of Lemnos was reputed to have healing powers and
was highly sought after. Wares from the island were stamped
with special seals to authenticate them as terra lemnia or
clay from Lemnos. The Ottomans under Sultan Mehmed II,
also known as Mehmet the Conqueror (r. 1451-81), revived
the tradition of extracting the clay on Lemnos during a
special annual ceremony. Vessels made from terra lemnia
were intentionally left unglazed in order to allow the healing
properties of the clay to mix with the liquid contained within.
Jugs like ours were highly prized by Ottoman Sultans and
the elites of Istanbul and were, like our jug, often gilded.
Our jug closely resembles another in the Victoria and Albert
Museum that has a very similar band of stamped decoration
(inv.924-1875; Julian Raby, Terra Lemnia and the Potters
of the Golden Horn: An Antique Revival under Ottoman
Auspices, Byzantinische Forschungen, Amsterdam, 1995).
That jug was collected in Turkey in the late 19th century and
was accessioned into the Museum collection in 1875. Like
ours the V&A jug is also stamped beneath the handle, which
would indicate that both were certifed as being made from
prized terra lemnia.
195
A TOMBAK INCENSE BURNER
OTTOMAN TURKEY, 19TH CENTURY
Set on a round tray with upturned rim and three rounded feet,
domed base through short shaft to rounded body with hinged
dome-shaped lid, all with diagonal moulded facets, the lid
pierced and with pyramidal terminal and knop fnial
10in. (25.3cm.) high
5,000-7,000
195
150
$7,100-9,900
6,500-9,000
196
AN OTTOMAN TOMBAK EWER
TURKEY, 18TH CENTURY
Rising from slightly spread foot to drop-shaped body and narrow waisted
cylindrical neck with pronounced knop, handle connecting to hinged domeshaped lid, simple spout, the body with an engraved roundel
16in. (41.3cm.) high
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
In the roundel, bende-i hda Sleyman Paa sene 1188, Slave of God, Suleyman
Pasha, year 1188 [1774-75 AD]
This ewer is slightly more elongated and with a slightly more attenuated
boss in the neck than frequently found in tombak examples of the form. The
shape does however relate to that found on the ewers that decorate the 15th
century Mamluk tiles on the Mosque and tomb of Tawrizi in Damascus (John
Carswell, Six Tiles, Islamic Art in the Metropolitan Museum of Art, New York,
1972, fg.2b, p.101).
VARIOUS PROPERTIES
197
A SILVER CHALICE
OTTOMAN TURKEY, DATED 1626 AND 1731
196
Of typical form rising from a trumpet foot with repouss decoration below a
fligree band, the underside of the foot dated 1731 and inscribed in Greek, the
shaft with a raised knop before the faring cup, two bands of Greek around the
exterior, small repair to the base
8in. (22.3cm.) high
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
151
198
*198
199
$10,000-14,000
9,100-13,000
INSCRIPTIONS:
152
199
A ENAMELLED SILVER REPOUSS
INCENSE BURNER
OTTOMAN TURKEY, 18TH CENTURY
Rising from a trumpet foot to a wide body with
slightly faring sides, a separate hinged domical
pierced lid with a pinecone fnial, decorated
in repouss rococo design highlighted with
turquoise, blue, green and yellow enamel, one
repair to the foot
8in. (20.4cm.) high
4,000-6,000
$5,700-8,500
5,200-7,700
200
A SERIES OF SILVER RELIGIOUS
ACCOUTREMENTS OF THE
METROPOLITAN, GREGORIUS OF
ADRIANOPLE
OTTOMAN EDIRNE, CIRCA 1830
Comprising a ceremonial staf with silver-gilt
dragon-head fnial, the faceted shaft divided
into four sections with raised futed bosses, the
top section with an engraved Greek inscription,
the last section with a pointed silver gilt terminal;
a cusped hinged reliquary with parcel-gilt icons on
either side and Greek inscriptions around the edge;
and a triangular seal on a chain, one of the sides with a
dated nastaliq inscription the other with Greek initials
and the third with a monogram surrounded by a laurel
wreath
Staf 63in. (160cm.) long; reliquary 2 x 2 x in.
(5.6 x 5.1 x 1.4cm.); seal 1in. (4.5cm.) high
(7)
30,000-40,000
$43,000-57,000
39,000-52,000
INSCRIPTIONS:
201
A LARGE OTTOMAN SILVER-GILT MIRROR
BACK
TURKEY, PERIOD OF ABDLHAMID II (R. 1876-1909)
Of circular form with cusped edges, the surface elegantly
decorated in repouss with a dense cornucopia of
Ottoman arms, musical instruments and fowers, the
surface stamped with tughra and sah stamps, the cusped
edge pierced for attachment
15in. (38.5cm.) diam.
6,000-8,000
$8,500-11,000
7,800-10,000
201
202
A YILDIZ PORCELAIN ARMORIAL PLATTER
OTTOMAN ISTANBUL, DATED AH 1312/1894-95 AD
On short foot, the centre decorated in polychrome and
gilt with the coat of arms of the Ottoman Empire and the
tughra of Sultan Abdlhamid II (r. 1876-1909), surrounded
by a crescent moon with naskh inscriptions surrounded
by a cusped medal, the rim gilded and with a band of
strapwork, the underside with the Yildiz mark and date
14in. (36.3cm.) diam.
7,000-10,000
$10,000-14,000
9,100-13,000
INSCRIPTIONS:
Al-mustanid bil-tawfqat al-rabaniyya malik al-dawla aluthmaniyya, The one who is supported by divine success,
the King of the Ottoman realm
Under the reign of Sultan Abdlhamid II (r. 1876-1909) a
porcelain factory and several workshops were established
in the grounds of the Yildiz palace. Production started in
1892, though two years later the factory was damaged
by an earthquake. The workshops employed a number
of French craftsmen who produced high quality wares
for use in the palace or as diplomatic gifts (Stephen
Vernoit, Occidentalism, London, 1997, p.83). The patriotic
sentiment of this dish suggests that it was probably a
diplomatic gift. The workshop continued in operation until
the eve of the First World War.
202
154
203
A LARGE SILVER-PLATED COPPER JUG
OTTOMAN TURKEY, 18TH CENTURY
Rising from a stepped trumpet foot through a
wide bulbous body with a swirling futed design
to a hinged domed lid with a rosette fnial, a
further rosette on the side of the lid issuing from
naturalistic stalks on the thumb knop of the curved
handle, a punched inscription around the foot in
naskh
15in. (38.5cm.) high
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
203
155
204
204
Y*205
The hinged casket of architectural form, heavily set with rubies, emeralds,
garnets and other coloured stones, the base with stylised reeds dotted
with inset gems, a futed minaret at each corner with dome fnials, the sides
intricately decorated with various architectural elements including minbars,
shrines, minarets and altars, some of the windows with Ottoman cenotaphs
and a candlestick visible through them, occasional fights of birds and trees
around the sides, some sides with hinged porticos and windows, the hinged
lid with an elaborate domed structure surmounted by a crescent with semidomes on each side, four barrel-vaulted structures at the corners, the base
formed of a thick onyx panel, a plaque with the tughra of Mahmud I once
attached to the interior of the lid now separate but retained
11 x 9 x 7in. (28 x 23.8 x 18.4cm.)
5,000-7,000
$7,100-9,900
6,500-9,000
The Pertevniyal Valide Sultan Mosque was one of the last great mosque
complexes to have been built during the Ottoman period in Istanbul. It
was noted for its diverse infuences including European Gothic, traditional
Ottoman and Empire styles. There is some debate as to the identity of the
architect; some suggest the Italian Montani Efendi and others the Armenian
Sarkis Balyan.
The extensive use of metal thread and the presence of sequins embroidered
onto a silk background is related to a cushion cover in the Topkapi Palace
collection which carries an Armenian inscription and is attributed to the late
19th century (Hulya Tezcan and Sumiyo Okumura (ed.), Textile Furnishings
from the Topkapi Palace Museum, Istanbul, 2007, pp.176-79, no.58).
156
30,000-50,000
$43,000-71,000
39,000-65,000
PROVENANCE:
205
157
*206
A PAIR OF ENAMELLED GOLD ZARFS
GENEVA, SWITZERLAND, CIRCA 1820
Each rising from cusped splayed foot to wide
bulbous body with cusped rim, the sides formed of
enamel panels with foral designs alternated with
fligree forming vines with grapes, one zarf with
seed pearls used for grapes and with seed pearlstudded roundels on the rim
Each 2in. (5.8cm.) high
(2)
6,000-8,000
$8,500-11,000
7,800-10,000
207
207
A PAIR OF PORCELAIN COVERED BOWLS (SAHANS)
VIENNA FOR THE OTTOMAN MARKET, 19TH CENTURY
Each on short foot with curved sides, stepped domed lids with
rosette fnials, the exterior of each decorated with bands of
two-tone gold and polychrome foral decoration contained
in cartouches linked with vine, the interior with further foral
sprays, the underside with makers mark
Each 7 (20cm.) diam.
4,000-6,000
158
$5,700-8,500
5,200-7,700
*208
A GOLD BOX WITH AN ENAMELLED PORTRAIT OF VICEROY
ABBAS I OF EGYPT
GENEVA, SWITZERLAND, CIRCA 1820
The gold box with cusped edges, the top decorated with a circular portrait
medallion containing a bust portrait of Abbas I surrounded by a thin band of
diamonds, around this elaborate scrolls highlighted in polychrome enamel on
a light blue ground, the sides similar on alternating ground of blue and green,
the underside with a foral spray on cobalt blue ground surrounded by four
small cartouches of fowers on pink ground, in original ftted red morocco box
6,000-8,000
$8,500-11,000
7,800-10,000
208
208 (underside)
VARIOUS PROPERTIES
209
A PORTRAIT OF MUHAMMAD ALI PASHA (R. 1805-48)
OTTOMAN TURKEY, THE FRAME DATED JUMADA I AH 1258/JUNEJULY 1842 AD
After August Couder, the oil portrait painted on a wooden board, fanked
by copper spandrels below, each containing the name of Muhammad
Ali, surrounded by a raised wooden border of carved arabesques, a dropshaped cartouche above and a rectangular cartouche below containing bold
muhaqqaq, dated below, traces of polychrome decoration on the frame
Portrait 11 x 9in. (28 x 23cm.); frame 25 x 18in. (63.5 x 47cm.)
6,000-8,000
$8,500-11,000
7,800-10,000
INSCRIPTIONS:
On the frame, hazirat [sic] wali malik masr muhammad ali basha al-qa[wa]
lali, His Highness, the Governor, the King of Egypt, Muhammad Ali Pasha
al-Qa[va]lali
Light surface crackelure to the portrait. The wooden frame slightly worn
around the edges, with a small area of loss to the surface in the lower right
hand corner as visible in the catalogue illustration. A horizontal repair to the
board which runs through the top border of the calligraphic cartouche. The
copper plaques have some surface oxidation.
209
159
210
A PORTRAIT OF SULTAN BEYAZID II
EUROPEAN SCHOOL, LATE 17TH OR EARLY 18TH CENTURY
Oil on vellum stretched on board, the bearded Sultan is depicted sitting
upon a carpet and wearing a large turban and gold-embroidered green
robes with fur trim, identifcation inscription below, reverse with old label
in a 19th century French hand incorrectly identifying the sitter as Sultan
Suleyman, framed
Painting 6 x 4in. (16.5 x 10cm.); frame 8 x 6in. (21.7 x 15.3cm.)
20,000-30,000
$29,000-42,000
26,000-39,000
INSCRIPTIONS:
211
211
A PANORAMA OF ISTANBUL
BY MICHEL FRANCOIS PREAULX, OTTOMAN TURKEY, LATE 18TH CENTURY
Watercolour and ink on paper mounted on card, the panorama following the course of the Bosphorus from
the city walls and the Sultan Ahmet Mosque through to the Maidens Tower, two caravels one of which is
fying a French fag, identifcation inscriptions below on blue margins with sides marked on the panorama
with clusters of birds, signed and dated in lower right hand corner
Watercolour 84 x 15in. (213.5 x 38.2); folio 87 x 18in. (223 x 45.8cm.)
15,000-25,000
$22,000-35,000
20,000-32,000
161
212
A METAL-THREAD EMBROIDERED VELVET COAT (CHAPAN)
BUKHARA, CENTRAL ASIA, EARLY 19TH CENTURY
Of typical form with wide skirt, long sleeves and slightly waisted mid-section,
the collar with a large cusped medallion embroidered with silver scrolling floral
vine on gold ground, the body with silver embroidered stellar motives with
green velvet highlights, the edges with chevron embroidery lined in violet satin,
splits and repairs to the velvet
55 x 77in. (196.8 x 139.5cm.)
5,000-8,000
212
*213
A SILK AND METAL-THREAD COAT
NEAR EAST OR NORTH AFRICA, 18TH
CENTURY
Stitched into a coat with blue satin lining, metal
thread rosette trim, the sleeves with zips along the
forearm, the textile woven in silk and metal thread
with alternating bands of gold calligraphy on blue
ground and bands of gold leaves issuing red and
green rosettes
31in. (80.6cm.) long
3,000-5,000
$4,300-7,100
3,900-6,500
INSCRIPTIONS:
162
$7,100-11,000
6,500-10,000
*214
A SAADIAN WOVEN SILK DOUBLE PANEL
PROBABLY FEZ, MOROCCO, 18TH CENTURY
Comprising two joined panels, each woven with
a central column of a wide variety of horizontal
panels of different geometric motifs, flanked on
each side by broad plain red and green strips, the
panels cropped on both sides, repaired splits and
patches, added selvage along the lower edge
88 x 41in. (224.8 x 106cm.)
5,000-7,000
$7,100-9,900
6,500-9,000
163
215
TAMERLANE THE INVADER
SIGNED PAUL MAK, TEHRAN, DATED 1927
Pen and opaque pigments heightened with gold and silver on paper,
a large heavily armoured fgure sits atop his horse in the middle of
a terrible battle, in the background a walled pavilion with elegantly
illuminated domes and minarets, a gold cartouche in the upper left
hand corner with the signature and date, within gold blue and black
rules
Drawing 10 x 7in. (26.9 x 18.9cm.); folio 11 x 8in. (30.3 x 22.3cm.)
8,000-12,000
$12,000-17,000
11,000-15,000
PROVENANCE:
216
A MODERN SILVER-INLAID BRONZE PENCASE
(QALAMDAN)
CENTRAL OR SOUTH ASIA, 20TH CENTURY
Of rectangular form with rounded edges and hinged lid, the surface
inlaid with silver, the exterior with a band of anthropomorphic
calligraphy, the lid with a band of strapwork around the side and
a calligraphic roundel fanked by two fgural roundels on a a keyfret ground, the underside with confronted horsemen separated
by a central roundel depicting soldiers in combat, on a ground of
scrolling vine with roundels at each end with geometric patterns, the
interior with a covered inkwell and decorated lid, with elephants and
musicians roundel, the hinged lid with a hunter carrying a deer, cusped
latch and hinges
10in. (27.8cm.) long
5,000-7,000
$7,100-9,900
6,500-9,000
INSCRIPTIONS:
164
217
A MAMLUK-STYLE ENAMELLED AND
GILT GLASS MOSQUE LAMP
FRANCE, 19TH CENTURY
Of typical Mamluk form with wide conical foot,
sloping rounded body and fared mouth, with
three applied glass hanging loops to sides, the
body decorated in polychrome enamels and gilt,
the body and the neck with a central register of
overlapping muhaqqaq on blue ground decorated
with gold scrolling vine, each register bordered by
foral bands and punctuated with foral sprays and
lotuses, the lower part of the body with blazons
alternating with calligraphic cartouches on
arabesque ground, the foot with cusped palmettes
on a ground of arabesques, repaired breaks to the
rim, in ftted black leather covered wooden case
with handle, lined with green velvet
13in. (33cm.) high
15,000-20,000
$22,000-28,000
20,000-26,000
PROVENANCE:
165
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
8 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve, the
auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
2 STORAGE
(a) If you have not collected the lot promptly
following the auction, we or our appointed agents
can remove the lot at our option to a warehouse.
(b) If you have not collected the lot within 90
calendar days of the auction, we will charge you
storage costs and can, at our option, charge you
transport costs and handling fees for moving the lot
to and within the warehouse.
(c) Details of the removal of the lot to a warehouse,
fees and costs are set out at the back of the catalogue
on the page headed Storage and Collection. You
may be liable to us or our agent directly for these
costs.
H TRANSPORT AND SHIPPING
1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make all
transport and shipping arrangements. However,
we can arrange to pack, transport and ship your
property if you ask us to and pay the costs of
doing so. We recommend that you ask us for an
estimate, especially for any large items or items
of high value that need professional packing before
you bid. We may also suggest other handlers,
packers, transporters or experts if you ask us to do
so. For more information, please contact Christies
Art Transport on +44 (0)20 7839 9060. See
the information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com. We will take reasonable care when
we are handling, packing, transporting and shipping
a lot. However, if we recommend another company
for any of these purposes, we are not responsible for
their acts, failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an import
declaration on entry of property into the country.
Local laws may prevent you from importing a lot
or may prevent you selling a lot in the country you
import it into.
(a) You alone are responsible for getting advice
about and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still
pay us in full for the lot. We may be able to help
you apply for the appropriate licences if you ask
us to and pay our fee for doing so. However, we
cannot guarantee that you will get one. For more
information, please contact Christies Art Transport
Department on +44 (0)20 7839 9060. See the
information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries
refuse to allow you to import property containing
these materials, and some other countries require
a licence from the relevant regulatory agencies in
the countries of exportation as well as importation.
In some cases, the lot can only be shipped with
an independent scientific confirmation of species
and/or age and you will need to obtain these at
your own cost. If a lot contains elephant ivory, or
any other wildlife material that could be confused
with elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please see
further important information in paragraph (c) if
you are proposing to import the lot into the USA.
We will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or it is seized for any reason by
a government authority. It is your responsibility
to determine and satisfy the requirements of any
applicable laws or regulations relating to the export
or import of property containing such protected or
regulated material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from the
African elephant. Any lot containing elephant
ivory or other wildlife material that could be
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
J
OTHER TERMS
to requests to remove these details from www.
1 OUR ABILITY TO CANCEL
In addition to the other rights of cancellation christies.com.
contained in this agreement, we can cancel a sale of
a lot if we reasonably believe that completing the K GLOSSARY
transaction is, or may be, unlawful or that the sale authentic: a genuine example, rather than a copy
places us or the seller under any liability to anyone or forgery of:
else or may damage our reputation.
(i) the work of a particular artist, author or
manufacturer, if the lot is described in the
Heading as the work of that artist, author or
2 RECORDINGS
We may videotape and record proceedings at any manufacturer;
auction. We will keep any personal information (ii) a work created within a particular period or
confidential, except to the extent disclosure is culture, if the lot is described in the Heading as a
required by law. However, we may, through this work created during that period or culture;
process, use or share these recordings with another (iii) a work for a particular origin source if the lot
Christies Group company and marketing partners is described in the Heading as being of that origin
to analyse our customers and to help us to tailor or source; or
our services for buyers. If you do not want to be (iv) in the case of gems, a work which is made of
videotaped, you may make arrangements to make a particular material, if the lot is described in the
a telephone or written bid or bid on Christies Heading as being made of that material.
LIVE instead. Unless we agree otherwise authenticity warranty: the guarantee we give in
in writing, you may not videotape or record this agreement that a lot is authentic as set out in
proceedings at any auction.
section E2 of this agreement.
buyers premium: the charge the buyer pays us
3 COPYRIGHT
along with the hammer price.
We own the copyright in all images, illustrations and catalogue description: the description of a lot
written material produced by or for us relating to a in the catalogue for the auction, as amended by any
lot (including the contents of our catalogues unless saleroom notice.
otherwise noted in the catalogue). You cannot use Christies Group: Christies International Plc,
them without our prior written permission. We its subsidiaries and other companies within its
do not offer any guarantee that you will gain any corporate group.
copyright or other reproduction rights to the lot.
condition: the physical condition of a lot.
due date: has the meaning given to it in paragraph
4 ENFORCING THIS AGREEMENT
F1(a).
If a court finds that any part of this agreement is not estimate: the price range included in the catalogue
valid or is illegal or impossible to enforce, that part or any saleroom notice within which we believe
of the agreement will be treated as being deleted a lot may sell. Low estimate means the lower
and the rest of this agreement will not be affected. figure in the range and high estimate means the
higher figure. The mid estimate is the midpoint
between the two.
5 TRANSFERRING YOUR RIGHTS
AND RESPONSIBILITIES
hammer price: the amount of the highest bid the
You may not grant a security over or transfer your auctioneer accepts for the sale of a lot.
rights or responsibilities under these terms on the Heading: has the meaning given to it in paragraph
contract of sale with the buyer unless we have E2.
given our written permission. This agreement will lot: an item to be offered at auction (or two or
be binding on your successors or estate and anyone more items to be offered at auction as a group).
who takes over your rights and responsibilities.
other damages: any special, consequential,
incidental or indirect damages of any kind or any
6 TRANSLATIONS
damages which fall within the meaning of special,
If we have provided a translation of this agreement, incidental or consequential under local law.
we will use this original version in deciding any purchase price: has the meaning given to it in
issues or disputes which arise under this agreement. paragraph F1(a).
provenance: the ownership history of a lot.
7 PERSONAL INFORMATION
qualified: has the meaning given to it in paragraph
We will hold and process your personal information E2 and Qualified Headings means the section
and may pass it to another Christies Group headed Qualified Headings on the page of
company for use as described in, and in line with, the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
our privacy policy at www.christies.com.
reserve: the confidential amount below which we
will not sell a lot.
8 WAIVER
No failure or delay to exercise any right or remedy saleroom notice: a written notice posted next to
provided under these Conditions of Sale shall the lot in the saleroom and on www.christies.
constitute a waiver of that or any other right or com, which is also read to prospective telephone
remedy, nor shall it prevent or restrict the further bidders and notified to clients who have left
exercise of that or any other right or remedy. No commission bids, or an announcement made by the
single or partial exercise of such right or remedy auctioneer either at the beginning of the sale, or
shall prevent or restrict the further exercise of that before a particular lot is auctioned.
UPPER CASE type: means having all capital
or any other right or remedy.
letters.
warranty: a statement or representation in which
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations the person making it guarantees that the facts set
arising out of or in connection with this agreement, or out in it are correct.
any other rights you may have relating to the purchase
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
EU VAT registered
buyer
* and
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
No Symbol and
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
PAYMENT
BOOKS
Free of Charge
Free of Charge
70.00
5.25
35.00
2.65
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction.Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
GERMANY
DSSELDORF
+49 (0)21 14 91 59 352
Arno Verkade
AUSTRALIA
SYDNEY
+61 (0)2 9326 1422
Ronan Sulich
FRANKFURT
+49 (0)173 317 3975
Anja Schaller (Consultant)
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+31 (0)20 57 55 255
NORWAY
OSLO
+47 975 800 78
Katinka Traaseth
(Consultant)
HAMBURG
+49 (0)40 27 94 073
Christiane Grfin
zu Rantzau
AUSTRIA
VIENNA
+43 (0)1 533 881214
Angela Baillou
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin Huyn
BELGIUM
BRUSSELS
+32 (0)2 512 88 30
Roland de Lathuy
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
Jinqing Cai
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
BERMUDA
BERMUDA
+1 401 849 9222
Betsy Ray
HONG KONG
+852 2760 1766
INDIA
MUMBAI
+91 (22) 2280 7905
Sonal Singh
BRAZIL
RIO DE JANEIRO
+5521 2225 6553
Candida Sodre
SHANGHAI
+86 (0)21 6355 1766
Gwenn Delamaire
DELHI
+91 (011) 6609 1170
Sanjay Sharma
SO PAULO
+5511 3061 2576
Nathalie Lenci
PORTUGAL
LISBON
+351 919 317 233
Mafalda Pereira Coutinho
(Consultant)
INDONESIA
JAKARTA
+62 (0)21 7278 6268
Charmie Hamami
CANADA
TORONTO
+1 416 960 2063
Brett Sherlock
RUSSIA
MOSCOW
+7 495 937 6364
+44 20 7389 2318
Katya Vinokurova
ISRAEL
TEL AVIV
+972 (0)3 695 0695
Roni Gilat-Baharaff
CHILE
SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira
SINGAPORE
SINGAPORE
+65 6735 1766
Wen Li Tang
ITALY
MILAN
+39 02 303 2831
COLOMBIA
BOGOTA
+571 635 54 00
Juanita Madrinan
ROME
+39 06 686 3333
Marina Cicogna
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676
Juliet Lomberg
(Independent Consultant)
NORTH ITALY
+39 348 3131 021
Paola Gradi
(Consultant)
DENMARK
COPENHAGEN
+45 3962 2377
Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
DURBAN &
JOHANNESBURG
+27 (31) 207 8247
Gillian Scott-Berning
(Independent Consultant)
TURIN
+39 347 2211 541
Chiara Massimello
(Consultant)
FINLAND AND
THE BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman (Consultant)
FRANCE
BRITTANY AND
THE LOIRE VALLEY
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
WESTERN CAPE
+27 (44) 533 5178
Annabelle Conyngham
(Independent Consultant)
VENICE
+39 041 277 0086
Bianca Arrivabene Valenti Gonzaga
(Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266
Hye-Kyung Bae
BOLOGNA
+39 051 265 154
Benedetta Possati Vittori Venenti
(Consultant)
GENOA
+39 010 245 3747
Rachele Guicciardi (Consultant)
SPAIN
BARCELONA
+34 (0)93 487 8259
Carmen Schjaer
FLORENCE
+39 055 219 012
Alessandra Niccolini di Camugliano
(Consultant)
MADRID
+34 (0)91 532 6626
Juan Varez
Dalia Padilla
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
CENTRAL &
SOUTHERN ITALY
+39 348 520 2974
Alessandra Allaria (Consultant)
PARIS
+33 (0)1 40 76 85 85
Poitou-Charente
Aquitaine
+33 (0)5 56 81 65 47
Marie-Ccile Moueix
JAPAN
TOKYO
+81 (0)3 6267 1766
Chie Banta
SWEDEN
STOCKHOLM
+46 (0)70 5368 166
Marie Boettiger Kleman
(Consultant)
+46 (0)70 9369 201
Louise Dyhln (Consultant)
GREATER
EASTERN FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin Daviet
(Consultant)
MALAYSIA
KUALA LUMPUR
+60 3 6207 9230
Lim Meng Hong
MEXICO
MEXICO CITY
+52 55 5281 5546
Gabriela Lobo
SWITZERLAND
GENEVA
+41 (0)22 319 1766
Eveline de Proyart
ZURICH
+41 (0)44 268 1010
Dr. Bertold Mueller
TAIWAN
TAIPEI
+886 2 2736 3356
Ada Ong
THAILAND
BANGKOK
+66 (0)2 652 1097
Yaovanee Nirandara
Punchalee Phenjati
TURKEY
ISTANBUL
+90 (532) 558 7514
Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
UNITED KINGDOM
LONDON,
KING STREET
+44 (0)20 7839 9060
LONDON,
SOUTH KENSINGTON
+44 (0)20 7930 6074
NORTH AND NORTHEAST
+44 (0)20 3219 6010
Thomas Scott
NORTHWEST
AND WALES
+44 (0)20 7752 3033
Jane Blood
SOUTH
+44 (0)1730 814 300
Mark Wrey
SCOTLAND
+44 (0)131 225 4756
Bernard Williams
Robert Lagneau
David Bowes-Lyon (Consultant)
ISLE OF MAN
+44 (0)20 7389 2032
CHANNEL ISLANDS
+44 (0)1534 485 988
Melissa Bonn (Consultant)
IRELAND
+353 (0)59 86 24996
Christine Ryall (Consultant)
UNITED STATES
BOSTON
+1 617 536 6000
Elizabeth M. Chapin
CHICAGO
+1 312 787 2765
Lisa Cavanaugh
DALLAS
+1 214 599 0735
Capera Ryan
HOUSTON
+1 713 802 0191
Jessica Phifer
LOS ANGELES
+1 310 385 2600
MIAMI
+1 305 445 1487
Jessica Katz
NEWPORT
+1 401 849 9222
Betsy D. Ray
NEW YORK
+1 212 636 2000
PALM BEACH
+1 561 833 6952
Maura Smith
PHILADELPHIA
+1 610 520 1590
Christie Lebano
AUCTION SERVICES
CORPORATE COLLECTIONS
Tel: +44 (0)20 7389 2548
Email: norchard@christies.com
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624
Fax: +44 (0)20 7389 2204
HERITAGE AND TAXATION
Tel: +44 (0)20 7389 2101
Fax: +44 (0)20 7389 2300
Email:rcornett@christies.com
PRIVATE COLLECTIONS
AND COUNTRY HOUSE
SALES
Tel: +44 (0)20 7389 2343
Fax: +44 (0)20 7389 2225
Email: awaters@christies.com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570
Email: llindsay@christies.com
PRIVATE SALES
US: +1 212 636 2034
Fax: +1 212 636 2035
VALUATIONS
Tel: +44 (0)20 7389 2464
Fax: +44 (0)20 7389 2038
Email: mwrey@christies.com
OTHER SERVICES
CHRISTIES EDUCATION
LONDON
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: london@christies.edu
NEW YORK
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: newyork@christies.edu
HONG KONG
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hongkong@christies.edu
CHRISTIES FINE ART
STORAGE SERVICES
NEW YORK
+1 212 974 4570
newyork@cfass.com
SINGAPORE
Tel: +65 6543 5252
Email: singapore@cfass.com
CHRISTIES
INTERNATIONAL
REAL ESTATE
NEW YORK
Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
LONDON
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com
HONG KONG
Tel +852 2978 6788
Fax +852 2973 0799
info@christiesrealestate.com
SAN FRANCISCO
+1 415 982 0982
Ellanor Notides
DENOTES SALEROOM
ENQUIRIES?
info@christies.com
04/02/16
WRITTEN BIDS MUST BE RECEIVED AT LEAST 24 HOURS BEFORE THE AUCTION BEGINS.
CHRISTIES WILL CONFIRM ALL BIDS RECEIVED BY FAX BY RETURN FAX. IF YOU HAVE NOT
RECEIVED CONFIRMATION WITHIN ONE BUSINESS DAY, PLEASE CONTACT THE BID DEPARTMENT:
TEL: +44 (0)20 7389 2658 FAX: +44 (0)20 7930 8870 ON-LINE WWW.CHRISTIES.COM
11961
(Dealers billing name and address must agree with tax exemption
certificate. Once issued, we cannot change the buyers name on an
invoice or re-issue the invoice in a different name.)
Sale Number
BIDDING INCREMENTS
Bidding generally starts below the low estimate
and increases in steps (bid increments) of up to 10 per
cent. The auctioneer will decide where the bidding
should start and the bid increments. Written bids that
do not conform to the increments set below may be
lowered to the next bidding interval.
Postcode
Daytime Telephone
Evening Telephone
Fax (Important)
Please tick if you prefer not to receive information about our upcoming sales by e-mail
UK50 to UK 1,000
by UK50s
UK1,000 to UK2,000
by UK100s
UK2,000 to UK3,000
by UK200s
UK3,000 to UK5,000
I have read and understood this written bid form and the Conditions of Sale - Buyers Agreement
Signature
by UK500s
UK10,000 to UK20,000
by UK1,000s
UK20,000 to UK30,000
by UK2,000s
UK30,000 to UK50,000
UK50,000 to UK100,000
by UK5,000s
UK100,000 to UK120,000
by UK10,000s
Above UK200,000
at auctioneers discretion
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount
payable will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale - Buyers
Agreement). The buyers premium rate shall be an amount
equal to 25% of the hammer price of each lot up to and
including 50,000, 20% on any amount over 50,000 up
to and including 1,000,000 and 12% of the amount above
1,000,000. For wine and cigars there is a flat rate of 17.5% of
the hammer price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in the
catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5. Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of
the low estimate or at the amount of the bid if it is less than
50% of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful
as it reasonably can be, Christies will not be liable for any
problems with this service or loss or damage arising from
circumstances beyond Christies reasonable control.
If you have not previously bid or consigned with Christies, please attach copies of the following
documents. Individuals: government-issued photo identifcation (such as a driving licence, national
identity card, or passport) and, if not shown on the ID document, proof of current address, for
example a utility bill or bank statement. Corporate clients: a certifcate of incorporation. Other
business structures such as trusts, ofshore companies or partnerships: please contact the
Compliance Department at +44 (0)20 7839 9060 for advice on the information you should supply.
If you are registering to bid on behalf of someone who has not previously bid or consigned with
Christies, please attach identifcation documents for yourself as well as the party on whose behalf
you are bidding, together with a signed letter of authorisation from that party. New clients, clients
who have not made a purchase from any Christies ofice within the last two years, and those
wishing to spend more than on previous occasions will be asked to supply a bank reference. We
also request that you complete the section below with your bank details:
Name of Bank(s)
Address of Bank(s)
Account Number(s)
Maximum Bid
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid
(excluding buyers premium)
CATALOGUE SUBSCRIPTIONS
Location
Issues
Hong Kong
Hong Kong
Hong Kong
Hong Kong
Hong Kong
Hong Kong
Hong Kong
Hong Kong
King Street
King Street
King Street
Mumbai
New York
New York
New York
New York
Paris
Shanghai
South Kensington
South Kensington
South Kensington
Worldwide
2
2
2
2
4
2
2
2
2
2
1
1
4
1
2
2
2
2
2
2
2
2
UKPrice
US$Price
EURPrice
68
30
70
68
141
51
51
70
57
57
30
30
141
26
59
59
38
70
38
38
38
57
110
50
114
110
228
86
86
114
95
95
50
50
228
43
95
95
61
114
61
61
61
95
104
46
106
104
213
78
78
106
87
87
46
46
213
39
89
89
57
106
57
57
57
87
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
26/08/2015
CHRISTIES
CHRISTIES UK
CHAIRMANS OFFICE
Orlando Rock, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Simon Andrews, Daniel Baade,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Peter Brown, James Bruce-Gardyne, Sophie Carter,
Benjamin Clark, Christopher Clayton-Jones,
Karen Cole, Paul Cutts, Isabelle de La Bruyere,
Leila de Vos, Paul Dickinson, Harriet Drummond,
Julie Edelson, Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Karen Harkness, Philip Harley, James Hastie,
Karl Hermanns, Paul Hewitt, Rachel Hidderley,
Mark Hinton, Nick Hough, Michael Jeha,
Donald Johnston, Erem Kassim-Lakha,
Nicholas Lambourn, William Lorimer,
Catherine Manson, Nic McElhatton
(Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Clarice Pecori-Giraldi,
Benjamin Peronnet, Henry Pettifer, Steve Phipps,
Will Porter, Paul Raison, Tara Rastrick,
Amjad Rauf, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Zoe Ainscough, Georgiana Aitken, Marco Almeida,
Maddie Amos, Alexandra Baker, Helen Baker,
Karl Barry, Rachel Beattie, Sven Becker,
Jane Blood, Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Lucy Campbell, Jason Carey, Sarah Charles,
Romilly Collins, Ruth Cornett, Nicky Crosbie,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Emily Fisher, Peter Flory,
Elizabeth Floyd, Christopher Forrest, Giles Forster,
Zita Gibson, Alexandra Gill, Sebastian Goetz,
Simon Green, David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Kate Hunt, Simon James,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok,
Robert Lagneau, Joanna Langston, Tina Law,
Darren Leak, Adriana Leese, Brandon Lindberg,
Laura Lindsay, David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,
Roger Massey, Joy McCall, Neil McCutcheon,
Daniel McPherson, Neil Millen, Edward Monagle,
Jeremy Morgan, Leonie Moschner, Giles Mountain,
20/01/16
175
176