Christies Sale Catalogue

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AUCTION AUCTIONEERS

Wednesday 19 June 2019 Francois Curiel (#0761369)


Session I Rahul Kadakia (#1005929)
at 10.00 am Jussi Pylkkanen (#1351667)
(Lots 1–149) William Robinson (#2017522)

Session II
at 2.30 pm
(Lots 150–388)

20 Rockefeller Plaza
New York, NY 10020

VIEWING

Friday 14 June 11 am – 4 pm
Saturday 15 June 11 am – 4 pm
Sunday 16 June 11 am – 4 pm
Monday 17 June 11 am – 4 pm
Tuesday 18 June 11 am – 4 pm

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 such bids at or above the reserve.

AUCTION LICENSE CONDITIONS OF SALE


Christie’s (#1213717) This auction is subject to the Important
Notices and Conditions of Sale set forth
AUCTION CODE AND NUMBER in this catalogue.
In sending absentee bids or making
enquiries, these sale should be referred
to as MAGNIFICENCE-17464

13/03/2018
C ON T E N T S

9 Auction Information

12 Worldwide Jewelry Department

13 Specialists and Services for this Auction

15 Foreword

17 Introduction

18 Property for Sale

554 Index

557 Glossary

558 Bibliography

561 Conditions of Sale • Buying at Christie’s

564 Symbols used in this Catalogue


Important Notices and Explanation of
Cataloguing Practice

565 Storage and Collection

566 Colorless Diamond Index

566 Colored Diamond Index

567 Colored Stone Index

569 Absentee Bids Form

ILLU ST R AT ION S

Frontispiece One: Opposite Title Page:


Lot 240 Lot 210
Frontispiece Two: Opposite Auction Information Page:
Lot 272 Lot 182

opposite:
Lot 139

11
WORL DW I DE JEW ELRY D E PA RT M EN T

EUROPE, MIDDLE EAST,


INTERNATIONAL TEAM RUSSIA AND INDIA

FRANÇOIS CURIEL ANGELA BERDEN KEITH PENTON


Chairman, Europe Senior Specialist Head of Department, London
[email protected] [email protected] [email protected]
+33 1 40 76 84 00 +41 22 319 17 82 +44 20 7389 2526

RAHUL KADAKIA MAFALDA CHENU RAYMOND SANCROFT-BAKER


International Head of Jewellery Associate Specialist Consultant
[email protected] [email protected] [email protected]
+1 212 636 2310 +33 1 40 76 72 59 +44 20 7389 2388

VICKIE SEK MARIE-CECILE CISAMOLO FREDERIK SCHWARZ


Chairman, Jewellery, Asia Junior Specialist Specialist
[email protected] [email protected] [email protected]
+852 297 89922 +41 22 319 17 61 +49 175 524 4379

JULIEN BRUNIE LEO CRIACO ELENA TSCHIGG-BAUER


International Head, Specialist Business Getter
Private sales, Jewellery [email protected] [email protected]
[email protected] +41 22 319 17 44 +41 44 268 10 30
+33 1 40 76 83 82
VIOLAINE D’ASTORG DAVID WARREN
Head of Department, Paris Senior International Director
ASIA
[email protected] [email protected]
+33 1 40 76 85 81 +44 20 7389 2380
KAREN AU YEUNG
Senior International Specialist ELEONORA D’OTTAVI
[email protected] Junior Specialist
+852 2978 9921 [email protected]
+39 06 686 3340
JEFF CHAN
Specialist RACHEL EVANS-OMEYER
[email protected] Specialist
+852 2978 9979 [email protected]
+44 20 7389 2382
FUNG CHIANG
Senior Specialist JESSICA ELLIOTT
[email protected] Associate Specialist
+852 2978 9977 [email protected]
+44 20 7389 2172
MONICA HARRISON
Associate Specialist MAX FAWCETT
[email protected] Specialist
+852 2978 9975 [email protected]
+41 22 319 17 38
CAROLINE LIANG
Specialist MEI Y GIAM
[email protected] Private Sales Director
+86 212 226 1520 [email protected]
+44 20 7389 5104
CONNIE LUK
Associate Specialist JESSICA KOERS
[email protected] Head of Department, Amsterdam
+852 2978 9928 [email protected]
+31 20 575 5915

JEAN-MARC LUNEL
Senior International Specialist
[email protected]
+41 22 319 17 37

24/04/2019

12
SP EC IA LIST S F OR T H IS AUC T IO N

JEWELRY ISLAMIC & INDIAN ART

ANGELINA CHEN WILLIAM ROBINSON


Senior Specialist International Head of Group, World Art
[email protected] [email protected]
+1 212 636 2303 +44 20 7389 2370

ALEXANDRA DAMIANOS BEHNAZ ATIGHI MOGHADDAM


Junior Specialist Head of Sale
[email protected] [email protected]
+1 212 636 2308 +44 20 7389 2509

JACQUELINE DISANTE RUKMANI KUMARI RATHORE


Associate Specialist Junior Specialist
[email protected] [email protected]
+1 212 636 2313 +44 20 7389 2700

CAROLINE ERVIN XAVIER FOURNIER


Associate Specialist Junior Specialist
[email protected] [email protected]
+1 212 636 2307 +44 20 7752 3172

PEGGY GOTTLIEB
Specialist
[email protected]
+1 310 385 2665 SALE COORDINATORS
LISA HUBBARD CAITLIN DOWD
Senior Advisor [email protected]
[email protected] Tel: +1 212 636 2315
+1 310 385 2624
JULIA SHANNON
JEROME KERR-JARRETT [email protected]
Private Sales Director Tel: +1 212 636 2311
[email protected]
+1 310 385 2620 SHARON SUN
[email protected]
EDWARD KLOPFER Tel: +1 212 636 2314
Associate Specialist
[email protected] MELANIE PAPATHOMAS
+1 212 636 2318 [email protected]
Tel: +1 212 636 2312
DAPHNE LINGON
Head of Jewelry Department, Americas
[email protected]
SERVICES
+1 212 636 2309
ABSENTEE AND TELEPHONE BIDS
CLAIBOURNE POINDEXTER Tel: +1 212 636 2437
Associate Specialist
AUCTION RESULTS
[email protected]
christies.com
+1 212 636 2316
CATALOGUES ONLINE
GLOBAL MANAGING DIRECTOR, Lotfnder®
LUXURY Internet: christies.com

INSURANCE
ALINE SYLLA-WALBAUM
Tel: +1 212 484 4879
Tel: +44 (0)20 7389 2554
Fax: +1 212 636 4957

BUSINESS MANAGEMENT POST-SALE SERVICES


Clare Smith
ALEXA SHITANISHI Post-Sale Coordinator
Business Manager Payment, Shipping and Collection
[email protected] Tel: +1 212 636 2650
Tel: +1 212 636 2306 Fax: +1 212 636 4939
Email: [email protected]
KIRA VIDUMSKY
Head of Sale Management EMAIL
[email protected] For general enquiries about this auction,
Tel: +1 212 636 2319 emails should be addressed to the Sale Coordinator(s).

24/04/2019

13
14
FOR E WOR D

Putting together a collection in any


area of the art world requires time.
Assembling the most magnifcent collection Featuring carved Mughal emeralds, sarpechs
of Mughal jewels, gem encrusted daggers and and jighas ft for the turbans of great rulers,
bejewelled objects - along with the fnest Art Deco imperial spinel beads inscribed with the names of
creations by the world’s leading house - takes important emperors and Tipu Sultan’s magic box,
time, knowledge and a deep passion, almost at Maharajas & Mughal Magnifcence will surround
the brink of obsession. you with the richest possible demonstration of
India’s preeminent position in the world of jewelry
Maharajas & Mughal Magnifcence ofers a
and jeweled objects.
group of objects from The Al Thani Collection
and exemplifes collecting at its best, exploring Having shared many of these wonderful pieces
the signifcant creative dialogue between India over recent years through a series of landmark
and the West, from as far back as the early 17th publications and travelling exhibitions, The Al
century through to modern day mastery. Thani Collection has entrusted us to fnd new
homes for these exquisite objects. From next year,
From a jade hilted dagger once owned by Shah
we can look forward to exploring other areas of
Jahan, creator of the Taj Mahal, to a jade cup
this diverse and encyclopaedic collection at their
with an ibex head so realistically carved that
new museum space opening in Paris. In addition
the Chinese Emperor Qianlong composed a
to further acquisitions, sale proceeds will support
poem in its honor, and; from the 52 carat Mirror
ongoing initiatives of The Al Thani Collection
of Paradise diamond from the fabled Golconda
Foundation which extend from exhibitions,
mines to the Nizam of Hyderabad’s diamond
publications and lectures to sponsorships of
encrusted state sword, this collection showcases
projects at museums around the world.
the sophistication of artistic production from the
Royal courts of India. Come and visit us at Christie’s to see this
extraordinary exhibition, and to revel in the history,
The Patiala Ruby Choker created by Cartier
artistry and fair of the Mughals and Maharajas.
in 1931 is a wonderful example of the fusion,
capturing the romance between two cultures.
Created for one of Cartier’s greatest clients,
Maharaja Bhupinder Singh of Patiala, it is one of
the many delightful jewels created by the French
house when the Maharajas focked to Paris to
re-set gems from their treasuries.
Guillaume Cerutti
Chief Executive Oficer

15
I N T RODUC T ION

50 years at Christie’s and the top of the Beginning with the classics, prominent in the
jewellery industry, I thought I had seen it all, until collection are priceless ornaments, ceremonial
this once in a lifetime collection comes along. objects, decorative art used by kings and elites
during the age of the Maharajas; and genuine
As the global exhibition of Maharajas & Mughal
artifacts with royal provenance spanning
Magnifcence continues its triumphant journey,
500 years.
the “oohs” and “aahs” from Shanghai to London
and Hong Kong to Geneva are still ringing in our Next comes fusion with the West, when at the
heads. From morning till dusk, crowds of visitors turn of the 20th century the Maharajas brought
fled in through the doors of Christie’s around India’s famously incomparable gems and pearls
the world to be dazzled by the fnest and rarest to the renowned jewellery houses of Europe for
examples of Indian art, historic and contemporary. new inspirations.
These jewels and objects are beyond magnifcent;
And then, the innovation of contemporary
they are defnitive, the true embodiment of the
jewellery maestros such as Bhagat and JAR,
essence of Mughal India.
who breathe fresh, 21st century air into high
Maharajas & Mughal Magnifcence consists Mughal art.
of almost 400 jewels, gems and objects from
This is a complete story of an intellectual,
the legendary Al Thani collection of 6,000.
invaluable and visually stunning archive of the
The selection is deliberate and thoughtful, as a
artistic ingenuity that best epitomizes Mughal
microcosm of the original assemblage, echoing
aesthetics at its most glorious. Maharajas
important themes in the art and culture of a
& Mughal Magnifcence is a collection that
great civilization.
transcends throughout the world. A salute to
art and history.

François Curiel
Chairman, Christie’s Europe

17
18
S E S SION I
LOTS 1–149
10.00 AM

Please note that the lot images are not necessarily illustrated
to actual size, check dimensions and disclaimers carefully.

Throughout the catalogue, please note these abbreviations:


AGL: American Gemological Laboratories
GIA: Gemological Institute of America
SSEF: Swiss Gemological Institute
1
Jam Sahib Of Nawanagar. Vibhaji II Ranmalji (1827 - 1895),
Jam Sahib (or Saheb) of Nawanagar, circa 1877.

Hulton Archive/Hulton Royals Collection/Getty Images

M A H A R AJA V I BH AJI II R A NM A LJI


Maharaja Vibhaji II Ranmalji ruled the Indian princely state
of Nawanagar, now known as Jamnagar, from February of
1852 until his death in April 1895. Nawanagar gained much
of its wealth from a famous pearl fshery. The Maharajas of
Nawanagar were known for their magnifcent jewelry collection.
Jacques Cartier noted the collection was, “unequaled in the
world, if not in quantity, then certainly in quality.”

1
AN ANTIQUE DIAMOND AND ENAMEL
PORTRAIT PENDANT

Oval-shaped enamel plaque depicting Maharaja


Vibhaji II Ranmalji, Jam Sahib of Nawanagar,
old-cut diamonds, gold, 1¼ ins., early 20th century

20
2 3

2 3
AN ANTIQUE DIAMOND AND ENAMEL A PAIR OF ANTIQUE ENAMEL,
PORTRAIT BROOCH DIAMOND AND PEARL CUFFLINKS

Oval-shaped enamel plaque depicting Maharaja Oval-shaped enamel plaques depicting Maharaja
Vibhaji II Ranmalji, Jam Sahib of Nawanagar, Vibhaji II Ranmalji, Jam Sahib of Nawanagar, old-
old and baguette-cut diamonds, platinum, 1¾ ins., cut diamonds, pearl, gold, ¾ in., early 20th century
early 20th century, portrait initialed J. G.

21
4
AN ANTIQUE ENAMEL, RUBY AND DIAMOND
GOLD HUNTING CASE MINUTE REPEATING
POCKET WATCH, SEELAND

Champlevé enamel portrait depicting His Highness


Sawai Mahendra Sir Pratap Singh Bahadur,
enameled monogram on the reverse, set with rose-
cut diamonds and oval-cut rubies, white enamel dial,
18k gold (Swiss marks), 2⅞ ins., circa 1890, signed
Seeland, portrait signed J. Graf, case no. 39874,
movement no. 370020

PROVENANCE:
Sotheby's, Geneva, 15 May 2011, lot 109

John Graf (1836-1906) was a talented Swiss enamel


portraitist who was popular during the later part of
the 19th century. His clients were typically important
European families, however, J. Graf was also
commissioned to create portraits for the Indian market.

Depicted here, His Highness Pratap Singh was a career


British Indian Army Oficer and the Maharaja of Idar.
From 1878 to 1911 he served as Administrator and
Regent under four Maharajas of Jodhpur. While serving
the Maharajas of Idar he developed a close relationship
4
with the British Royal family and became Edward VII’s
(alternate views)
aide-de-camp from 1887 to 1910. Pratap abdicated
the gadi in 1911 and built an illustrious military career
serving in the British Indian Army. His service in the
Second Afghan War, the Tirah Campaign, the Boxer
Rebellion, and the First World War earned him many
honors including the Order of the Star of India, the
Kaisar-i-Hind Medal, the Order of Bath, the Order of the
Nile, the Legion d’Honneur, and the Order of the Star
of Romania. After thirty-eight years of military service,
he returned as to the role of Regent of Jodhpur until his
death in 1922.

5
AN ENAMEL AND GOLD HUNTING CASE
MINUTE REPEATING POCKET WATCH

Champlevé enamel portrait depicting Maharaja


Bhupinder Singh of Patiala, enamel coat of arms on
the reverse, white enamel dial, 18k gold (British and
Swiss hallmarks), 2½ ins., case no. 34894, circa 1930

5
(alternate views)

PROVENANCE:
Sotheby's, Geneva, 15 May 2011, lot 110

22
6
(alternate views)

6
AN ANTIQUE ENAMEL AND GOLD HUNTING CASE MINUTE REPEATING POCKET WATCH,
CHARLES FRODSHAM

Champlevé enamel portraits on either side depicting a nobleman or Maharaja, white enamel dial, 18k gold
(British and Swiss marks), 3 ins., case no. 06763, circa 1885, signed 'Cha. Frodsham, 84 Strand London',
workshop mark (H. M. F.)

PROVENANCE:
Sotheby's, Geneva, 15 May 2011, lot 111

During the late 19th and early 20th century, many pocket watches were made in Europe for the Indian market.
Photographs were typically sent to the artists so that they could render the enamel portraits of the Maharaja or
nobleman commissioning the watch.

23
7
AN ANTIQUE DIAMOND AND GOLD PAIZEB

The anklet set with variously-shaped table-cut diamonds, foil, gold, diameter 2¾ ins.,
early to mid-19th century

PROVENANCE:
Christie's, London, 8 October 1997, lot 309

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 70
The Miho Museum, Koka 2016, p. 122, no. 89
Grand Palais, Paris 2017, p. 238, no. 176
The Doge’s Palace, Venice 2017, p. 254, no. 174
The Palace Museum, Beijing 2018, p. 274, no. 178
de Young Legion of Honor, San Francisco 2018, pp. 126-27, no. 59

LITERATURE:
Jafer 2013, p. 178, ill. p. 198, no. 85

Throughout India gold anklets were gifted by rulers to their subjects to honor achievements and recognize
status. Gold anklets similar to this example were also seen in the collection of the Nizams of Hyderabad.

24
8
A PAIR OF ANTIQUE DIAMOND, PEARL AND ENAMEL KARAN-PHUL EARRINGS

The earrings set with pear and oval-shaped table-cut diamonds, pearls, red and green enamel, foil, gold,
2½ ins., early to mid-19th century, with modern fttings

25
9
A CAT'S EYE QUARTZ TAVEEZ BEAD

Cat's eye quartz taveez bead of 19.74 carats, 17th century

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 65, no. 44
The Doge’s Palace, Venice 2017, p. 84, no. 41
(actual size) The Palace Museum, Beijing 2018, p. 97, no. 42

26
10
THE 'INDORE SAPPHIRE' TAVEEZ
BEAD PENDANT NECKLACE,
MOUNTED BY CARTIER

Oval-shaped sapphire taveez bead of 23.20 carats,


18th century, later added 18k white gold fnelink
chain, 24⅛ ins., chain signed MT Cartier, no. SB7885

PROVENANCE:
Maharaja Yeshwant Rao Holkar II of Indore

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015,
p. 56, no. 21
The Miho Museum, Koka 2016, p. 29, no. 6
Grand Palais, Paris 2017, p. 65, no. 43
The Doge’s Palace, Venice 2017, p. 85, no. 42
The Palace Museum, Beijing 2018, p. 98, no. 43
de Young Legion of Honor, San Francisco 2018,
p. 172, no. 29

LITERATURE:
Jafer 2013, p. 382, no. 130

M A H A R A J A Y E S H WA N T
R AO H O L K A R I I O F I N D O R E

No ruler represents the comingling of European and Indian culture in the


1930s as the Maharaja of Indore, Yeshwant Rao Holkar II. Born in India in
1908, he was educated in England, as was his future wife. With a great
passion for Western culture, they spent most of their time in Europe,
returning to India with great treasures they purchased, such as art and
jewelry, as well as new design ideas.

They were famously photographed by Man Ray in Paris and Cannes.


Recalling the event in his autobiography, he states: ‘The Maharaja of Indore
came to the studio to be photographed, also in Western clothes – sack
suits and formal evening dress. He was young, tall and very elegant. I got
a substantial order from this sitting.… Next year, the Maharaja was in the
South of France with his young bride. He had taken an entire foor of a
hotel in Cannes for himself and his retinue. I arrived in Cannes before noon,
was assigned to my room in the suite…The Maharanee was an exquisite
girl in her teens. She wore French clothes, and a huge emerald ring. The
Maharaja had bought it for her that morning while taking a walk.…’

Portrait du Maharaja of Indore, Rao Holkar, avec sa femme,


Sanyogita Devi of Indore, 1937

© Man Ray 2015 Trust / ADAGP – ARS - 2019, image :


Telimage, Paris

27
11
A FOLIO FROM THE DE LUYNES ALBUM
MUGHAL INDIA, RECTO ATTRIBUTABLE TO HIRANAND
CIRCA 1600

Opaque pigments and gold on paper, recto depicting a mounted prince


hawking, verso a court scene with jesters after a European print, within
colored borders on cream album leaf
Recto painting 12⅞ x 8¼ ins. (31.5 x 21 cm.); verso painting 7⅛ x 4½ ins.
(18 x 11.5 cm.); folio 18⅛ x 12⅝ ins. (46 x 32 cm.)

PROVENANCE:
The family collection of the Ducs de Luynes, by 1843, sold Christie’s, London,
4 October 2012, lot 167

LITERATURE:
Losty 2013C, cat. 4, pp. 76–79

The hunting scene can be attributed to the artist Hiranand dating to circa 1600.
The main fgures, particularly the attendant carrying a gun in the foreground have
quite high foreheads and expressive features. A good comparison can be made
with a work attributed to Hiranand in the Freer Gallery of Art from the Akbarnama
dated to circa 1604, (inv.1952.31; Beach, 1981, cat. no.12f). The fne modeling of
both the facial features and the delicate outlines of this European inspired scene
make this a remarkably refned work of its time. A European inspired biblical
scene by the Mughal artist Kesu Das attributed to circa 1590 depicts fgures with
expressive gestures very similar to the striking fgures present in our painting. It
has been suggested that the current lot is a Deccani rather than Mughal copy of a
European original. However the composition and in particular the foreground with
two fgures depicted only from their head and shoulders upwards outside the
walled compound is distinctly Mughal.

(verso)

28 IMAGE OF REDUCED SIZE


IMAGE OF REDUCED SIZE
12
A GOSHAWK
MUGHAL INDIA, 18TH CENTURY, THE BORDERS
SIGNED BY DAULAT, 17TH CENTURY
PROVENANCE:

Opaque pigments and gold on paper, signed on the lower inner gold margin, Layla S. Diba, New York
within cream album leaf painted with fowers, backed on cream card Sarikhani Collection
Painting 7½ x 4½ ins. (19 x 11.5 cm.); folio 12⅞ x 8 ins. (32.6 x 20.2 cm.)
INSCRIBED:
amala kamtarin daulat, 'the work of the most humble, daulat'

30 IMAGE OF ENLARGED SIZE


13
A PAIR OF JADE FALCON BRACELETS
INDIA, EARLY 19TH CENTURY

Each set with leaf shaped rubies


Each 1½ ins. (4 cm.) diam.

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 37
The Miho Museum, Koka 2016, p. 107, no. 75
Grand Palais, Paris 2017, p. 105, no. 73
The Doge’s Palace, Venice 2017, p. 128, no. 76
The Palace Museum, Beijing 2018, p. 152, no. 80
de Young Legion of Honor, San Francisco 2018, p. 75, no. 21

LITERATURE:
Jafer 2013, p. 126, ill. p. 186, no. 49

31
14

14
A GEM SET GOLD ARCHER’S RING
SOUTH INDIA OR DECCAN, POSSIBLY TANJORE, 1750-1850

Set with diamonds, rubies and emeralds


1 in. (2.6 cm.) high; 1¼ ins. (3.3 cm) deep; 1⅝ ins. (4.1 cm.) deep

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.183, no.137
The Doge’s Palace, Venice 2017, p.210, no.143
The Palace Museum, Beijing 2018, p.233, no.147

32
15 16

15 16
A GEM SET JADE ARCHER’S RING A JADE AND SILVER ARCHER’S RING
INDIA, 1750-1800 INDIA, 1650-1700

Set with diamonds, rubies and emeralds Set with rubies and emeralds, the gold kundan
¾ in. (2.1 cm.) high; 1⅛ ins.(2.9 cm.) wide; 1⅝ ins. setting carved with serrated edges and scalloped
(4.1 cm.) deep around the central ruby
¾ in. (2 cm.) high; 1⅛ ins. (2.8 cm.) wide;
1½ ins. (3.8 cm.) deep
EXHIBITED AND CATALOGUED:
Victoria and Albert Museum, London 2015,
p.93, no.44 EXHIBITED AND CATALOGUED:
Grand Palais, Paris 2017, p.106, no.77 Victoria and Albert Museum, London 2015,
The Doge’s Palace, Venice 2017, p.131, no.80 p.93, no.44
The Palace Museum, Beijing 2018, p.156, no.84 Grand Palais, Paris 2017, p.106, no.75
The Doge’s Palace, Venice 2017, p.131, no.79
LITERATURE:
The Palace Museum, Beijing 2018, p.155, no.83
Jafer 2013, p.186, no.50
LITERATURE:
Jafer 2013, p.55, no.21

The silver lining was probably inserted to


resize the ring.

33
17
AN ANTIQUE DIAMOND RING

Old-cut diamond, gold and silver, Major Rasfur Lee Knox of Sligo (also known as Randfurlie Knox of Sligo) was
ring size 7¼, circa 1760 born in Sligo, Ireland to a military family related to the prominent Knoxes of
Prehen. Knox entered the Royal Military college of Woolwich at sixteen years old.
In 1753 he enlisted in the British East India company as an Ensign and quickly
rose through the ranks of the Madras Army. He commanded Bengal, European,
PROVENANCE:
and Sepoy Battalions. After the successful siege of Patna, he gained the title
By repute, Major Rasfur Lee Knox of Sligo Lieutenant Colonel but died before he could assume his command at the age
EXHIBITED AND CATALOGUED: of thirty-four. He is buried in a tomb on the banks of the Ganges at Patna,
Grand Palais, Paris 2017, p. 38, no. 8 which bears the inscription, “the earthly remains of the truly gallant Major
The Doge’s Palace, Venice 2017, p. 53, no. 7 Randfurlie Knox.”

The Palace Museum, Beijing 2018, p. 63, no. 8


de Young Legion of Honor, San Francisco 2018, p. 170, no. 4

INSCRIBED:
R. Knox 1764

34
(alternate views)

18
AN ANTIQUE DIAMOND RING

Old European brilliant-cut diamond of 21.67 carats,


gold, ring size 5¾, circa 1915
GIA, 2019, report no. 5202200026: 21.67 carats,
O to P range, VS2 clarity

PROVENANCE:
By repute, Rajmata Gayatri Devi of Jaipur

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p. 342, no. 238
The Palace Museum, Beijing, 2018, p. 352, no. 242

Rajmata Gayatri Devi of Jaipur at the wedding of the Maharaja’s son, 1966,
wearing a ring similar to Lot 18.

© Marilyn Silverstone/Magnum Photos

35
19
A PAIR OF ANTIQUE RUBY, PEARL, GLASS AND DIAMOND EARRINGS

Oval-shaped rubies, rose-cut diamonds, pearls, red glass beads, gold and silver, 1½ ins.,
early 20th century, one ruby defcient

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 118, no. 67
The Miho Museum, Koka 2016, p. 154, no. 118
Grand Palais, Paris 2017, p. 257, no. 190
The Doge’s Palace, Venice 2017, p. 272, no. 186
The Palace Museum, Beijing 2018, p. 291, no. 190

LITERATURE:
Jafer 2013, p. 240, ill. p. 274, no. 99

36
20
A PAIR OF ANTIQUE DIAMOND, PEARL, GLASS AND ENAMEL EARRINGS

Rose-cut diamonds, pearls, green glass beads, red enamel, foil, gold and silver,
2 ins., early 20th century

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 118, no. 68
The Miho Museum, Koka 2016, p. 155, no. 119
Grand Palais, Paris 2017, p. 257, no. 191
The Doge’s Palace, Venice 2017, p. 273, no. 187
The Palace Museum, Beijing 2018, p. 291, no. 191

LITERATURE:
Jackson and Jafer 2009, p. 151
Jafer 2013, p. 240, ill. p. 274, no. 100

37
21
AN ANTIQUE DIAMOND AND ENAMEL BAZUBAND

The armband set with pear and variously-shaped table-cut diamonds, white,
red and green enamel, foil, silver and gold on a lac core, 7⅝ ins., 19th century

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 120, no. 87
Grand Palais, Paris 2017, p. 235, no. 174
The Doge’s Palace, Venice 2017, p. 250, no. 171
The Palace Museum, Beijing 2018, p. 270, no. 175

LITERATURE:
Jafer 2013, p. 194, no. 73

38
(reverse)
22
AN ANTIQUE DIAMOND RIVIÈRE NECKLACE

Thirty-three graduated old-cut diamonds, the seven central diamonds


weighing (from left to right) 10.03, 10.93, 19.19, 24.38, 17.52, 12.28,
and 9.90 carats, gold and silver, 15 ins., late 19th century

PROVENANCE:
Nizams of Hyderabad
Christie's, Hong Kong, 25 November 2014, lot 2085

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 282, no. 211
The Doge’s Palace, Venice 2017, p. 296, no. 205
The Palace Museum, Beijing 2018, p. 312, no. 209
de Young Legion of Honor, San Francisco 2018, p. 130, no. 63

40
23
A LEATHER AND BRASS JEWELRY TRUNK

The rectangular black leather trunk comprising ten compartments lined with
magenta fabric, with brass slides and lock mechanism, accompanied by outer
travel cover and two keys, 17 x 11 x 11¾ ins., lock inscribed 'Chubb's 128 Queen
Victoria Street, London, Makers to His Majesty' with maker's mark, interior of
case inscribed 'A. Abid & Co., Hyderabad & Secunderabad', two brass slides
and one lock mechanism defcient

PROVENANCE:
Nizams of Hyderabad

Founded in 1818 by brothers Charles and Jeremiah Chubb, the Chubb lock
company was well-renowned in London. In 1823, the frm was awarded with
a license to work for King George lV and the royal household. Chubb was also
known as the sole supplier during this time to the General Post Ofice and Her
Majesty's Prison Service.

Chubb opened its frst location in London on 57 St Paul’s Churchyard. Here they
remained until 1877, until they moved to 128 Queen Victoria Street. They have
since expanded and changed locations over time and the frm still remains in
business today.

42
IMAGE OF REDUCED SIZE
24
AN AGATE ARCHER’S RING
INDIA, 1775-1825
¾ in. (1.8 cm.) high; 1⅛ ins. (2.9 cm.) wide; 1½ ins. (3.9 cm.) deep

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.106, no.76
The Doge’s Palace, Venice 2017, p.132, no.81
The Palace Museum, Beijing 2018, p.157, no.85

For a note on archer's rings see the following lot.

44
25
A CARNELIAN ARCHER’S RING
NORTH INDIA, CIRCA 18TH CENTURY

Of typical form
¾ in. (2.1 cm.) high; 1⅜ ins. (3.4 cm.) wide; 1⅝ ins. (4.3 cm.) deep

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.106, no.78
The Doge’s Palace, Venice 2017, p.132, no.82
The Palace Museum, Beijing 2018, p.157, no. 86

LITERATURE:
Jafer 2013, p.126, no.51

Archer’s rings made of precious and semi-precious stones are well documented in Mughal India. In the Windsor
Padshanameh dating from the frst half of the 17th century, for example, Jahangir can be seen with a pair of
archer’s rings suspended from his belt, one of which is colored cream and orange and could easily be made of
similar stone (see, Beach, Koch and Thackston, 1997, pp.36-37, fgs.8-9).

45
26 27

26 27
A GOLD-DAMASCENED STEEL A GOLD-INLAID AND RUBY INSET STEEL
PUSH-DAGGER (KATAR) PUSH-DAGGER (KATAR)
INDIA, 18TH CENTURY INDIA, 18TH CENTURY

The hilt's gold-damascened decoration Watered-steel blade, verso with a lion hunting
with foral motifs a deer and recto with a tiger hunting a camel,
21½ ins. (54.5 cm.) long all animals set with ruby eyes and gold details
19¼ ins. (49 cm.) long

46 IMAGES OF REDUCED SIZE


28
AN EMERALD-INLAID AND GEM SET GOLD
PUSH-DAGGER (KATAR)
INDIA, 18TH CENTURY

Inlaid with carved emeralds along each outer edge


decorated with fowers in low relief, the entire hilt
set with diamonds, rubies and emeralds on gold,
steel blade
15⅞ ins. (40.3 cm.) long

(detail)

IMAGES OF REDUCED SIZE 47


(detail)

29
A GOLD AND GEM SET DAGGER (KATAR)
NORTH INDIA OR DECCAN, CIRCA 1680-1720

Set with diamonds, rubies and emeralds, steel blade


16½ ins. (42.1 cm.) long

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp.42-43
Grand Palais, Paris 2017, p.160, no.121
The Doge’s Palace, Venice 2017, p.198, no.133
The Palace Museum, Beijing 2018, p.222, no.137

48 IMAGE OF REDUCED SIZE


IMAGE OF REDUCED SIZE 49
30
AN ANTIQUE RUBY, EMERALD AND DIAMOND FINIAL

Oval and circular cabochon rubies and emeralds, table-cut diamonds, gold, 3⅜ ins.,
late 18th or early 19th century, with later added pinstems

50
31
32

31 32
A GOLD GEM SET BOX A SPHERICAL GOLD JEWELED BOX
POSSIBLY SOUTH INDIA, 1675-1725 INDIA, 1675-1725

Set with diamonds, rubies and emeralds, Set with diamonds, rubies and emeralds,
the interior and base in plain gold the interior and underside in plain gold
1¼ ins. (3.1 cm.) high; 1½ ins. (3.9 cm.) diam. 1⅜ ins. (3.5 cm.) high; 1½ ins. (3.9 cm.) diam.

EXHIBITED AND CATALOGUED: EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.156, no.118 The Miho Museum, Koka 2016, p.82, no.52
The Doge’s Palace, Venice 2017, p.176, no. 115 Grand Palais, Paris 2017, p.156, no.119
The Palace Museum, Beijing 2018, p.204, no.119 The Doge’s Palace, Venice 2017, p.176, no. 116
The Palace Museum, Beijing 2018, p.204, no.120
LITERATURE:
Jafer 2013, p.93-94, no.10 LITERATURE:
Jafer 2013, p.93, no.9

51
33
AN ANTIQUE EMERALD BEAD, DIAMOND
AND SEED PEARL NATH

The nose ring set with emerald beads, pear and


old-cut diamonds, circular rose-cut diamonds,
seed pearls, gold, 1⅞ ins., early 20th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp. 76-77
Victoria and Albert Museum, London 2015,
p. 119, no. 69
The Miho Museum, Koka 2016, p. 156, no. 120
Grand Palais, Paris 2017, p. 261, no. 193
The Doge’s Palace, Venice 2017, p. 278, no. 191
The Palace Museum, Beijing 2018, p. 296, no. 195
de Young Legion of Honor, San Francisco 2018,
p. 181, no. 117

LITERATURE:
(actual size)
Jafer 2013, p. 247, ill. p. 276, no. 106

Nose rings are very popular in most parts of India.


Ornate pieces such as the ones ofered here would
have been worn at elaborate weddings and other
formal occasions.

52
34
AN ANTIQUE RUBY BEAD,
DIAMOND AND SEED PEARL NATH

The nose ring set with ruby beads, circular


and pear-shaped diamonds, circular rose-cut
diamonds, seed pearls, gold, 1⅝ ins.,
early 20th century

PROVENANCE:
Christie's, London, 8 October 1997, lot 335

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp. 76-77
Victoria and Albert Museum, London 2015,
p. 119, no. 69
The Miho Museum, Koka 2016, p. 157, no. 121
Grand Palais, Paris 2017, p. 261, no. 194
The Doge’s Palace, Venice 2017, p. 279, no. 192
The Palace Museum, Beijing 2018, p. 296, no. 196
(actual size)
de Young Legion of Honor, San Francisco 2018,
p. 181, no. 118

LITERATURE:
Jafer 2013, p. 276, no. 105

53
35
AN ANTIQUE EMERALD BEAD AND PEARL NECKLACE

Round to oval carved and polished emerald beads of 15.65-13.40 x 13.10 to


9.55 x 9.15 x 7.15 mm, pearls, shortest length 17 ins. (adjustable), 19th century,
restrung at a later date
AGL, 2019, report no. 1100325: Excess of 50% tested at random, Colombia,
minor to moderate clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 50, no. 12
The Miho Museum, Koka 2016, p. 35, no. 12
Grand Palais, Paris 2017, p. 51, no. 32
The Doge’s Palace, Venice 2017, p. 74, no. 33
The Palace Museum, Beijing 2018, p. 87, no. 34
de Young Legion of Honor, San Francisco 2018, p. 54-55, no. 8

54
55
36
AN ANTIQUE COLORED DIAMOND, DIAMOND AND
NATURAL PEARL PENDANT

Triangular-shaped table-cut pink diamond, half-moon and triangular-shaped


table-cut diamonds, rose-cut diamonds, pearls, engraved on the reverse with
foral motif, silver, 2 ins., 19th century
GIA, 2019, report no. 6204203869: natural pearls, saltwater,
no indications of treatment
GIA, 2019, report no. 5202203895: Identifcation and Origin Report,
Colored Diamond, Natural Color

(actual size)

56
B H AG AT

Bhagat today is widely recognized as one of the most inventive


contemporary jewelers of our time. Based in Mumbai, Bhagat works
with a strictly limited but opulent palette of gemstones, tirelessly
travelling the world in search of the rare and important material
needed to manufacture their intricate and exquisite creations. Each
unique jewel is made by hand with fewer than 60 produced annually.
The essence of Bhagat’s originality lies in the manner in which
they unite classical Indian forms and motifs with a contemporary
sensibility that, whilst it combines aspects of East and West, is
entirely international.

Now in its fourth and ffth generations, Bhagat is run by Viren along
with his two sons, Varun and Jay. In recent years, their works have
been exhibited globally at the Kremlin State Museum in Moscow, the
Metropolitan Museum of Art in New York and the Victoria and Albert
Museum in London.

Lot 37, entirely set with diamonds, draws inspiration from architectural
elements referred to as jali. These screens were used to allow air
to fow through buildings whilst also providing privacy. Lot 38 is
designed as a fowering plant, a central motif in Mughal decorative
art. This motif also became popular in Europe during the 1920s and
1930s and is reminiscent of Art Deco jewelry by Cartier, Van Cleef
& Arpels and Janesich. Both are very clever reinterpretations of
history through timeless designs, continuing to inspire collectors and
professionals alike.

An example of a jali in Indian architecture.

Photo © Sylvain Collet/Bridgeman Images

58
37 38

37 38
A DIAMOND BROOCH, BHAGAT A DIAMOND AND EMERALD BEAD
BROOCH, BHAGAT
Circular, half-moon and pear-shaped table-cut
diamonds, circular-cut diamonds, platinum, Pear and circular-shaped rose-cut diamonds,
2⅛ ins., 2015, signed Bhagat circular-cut diamonds, drop-shaped emerald bead
of 20.03 carats, platinum, 1⅞ ins., 2014,
signed Bhagat

EXHIBITED AND CATALOGUED: Gübelin, 2014, report no. 14105105: Colombia,


The Miho Museum, Koka 2016, p. 218, no. 176 indications of minor clarity enhancement
Grand Palais, Paris 2017, p. 350, no. 262
The Doge’s Palace, Venice 2017, p. 364, no. 254
The Palace Museum, Beijing 2018, p. 368, no. 254 EXHIBITED AND CATALOGUED:
de Young Legion of Honor, San Francisco 2018, The Miho Museum, Koka 2016, p. 214, no. 172
p. 160, no. 86 Grand Palais, Paris 2017, p. 355, no. 266
The Doge’s Palace, Venice 2017, p. 369, no. 258
The Palace Museum, Beijing 2018, p. 371, no. 258
de Young Legion of Honor, San Francisco 2018,
p. 161, no. 87

59
39
A FIVE-STRAND NATURAL PEARL AND DIAMOND
NECKLACE, BHAGAT

Five graduated strands of three hundred and seventy-seven natural pearls


of 9.45 to 3.90 mm, twenty-four natural pearls on neckchain, drop-shaped
natural pearl on clasp, cushion-cut diamonds of 4.05 and 4.03 carats, oval-
shaped diamond of 2.06 carats, pear, circular and baguette-cut diamonds,
platinum, shortest strand 25 ins., 2012, unsigned
SSEF, 2011, report no. 58248: 377 natural pearls, the analyzed properties
confrm the authenticity of these saltwater natural pearls; letter attesting to
the exceptional characteristics of the pearls
GIA, 2010, report no. 6127870822: 4.05 carats, F color, VS1 clarity
GIA, 2010, report no. 1126870853: 4.03 carats, F color, SI1 clarity

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 150, no. 92
The Miho Museum, Koka 2016, p. 219, no. 177
Grand Palais, Paris 2017, p. 344, no. 256
The Doge’s Palace, Venice 2017, p. 358, no. 248
The Palace Museum, Beijing 2018, p. 362, no. 248
de Young Legion of Honor, San Francisco 2018, pp. 154-55, no. 82

Multiple-row pearl necklaces have been worn throughout history by male Indian
royalty. Originating in the Persian Gulf, the pearls found their way to India through
existing trade routes and were strung in large numbers for Indian rulers to wear in
multiple layers.

60
IMAGE OF REDUCED SIZE 61
R A M AYA NA A N D
CON T E M P OR A RY C A RT I E R

The Ramayana is one of the great ancient epics of


India attributed to the Sanskrit sage Valmiki. The hero, Lord
Rama, lived his whole life by the rules of dharma; in fact, that
was why Indians consider him heroic. When Rama was a young
boy, he was the perfect son. Later he was an ideal husband to
his faithful wife, Sita, and then an ideal ruler to the Kingdom
of Ayodhya.

The name Ramayana literally translates to "Rama's Journey".


The Ramayana consists of 24,000 verses in seven books and
tells the story of Rama an incarnation of the Hindu god Vishnu,
whose wife Sita is abducted by the demon king of Lanka,
Ravana. Thematically, the epic explores the tenets of human
existence and the concept of dharma.

The Ramayana has over the centuries helped to bind together


the people of India, transcending caste, distance and language.
Two all-Indian holidays celebrate events in the Ramayana.
Dussehra, a fourteen-day festival in October, commemorates
the siege of Lanka and Rama's victory over Ravana, the demon
king of Lanka, and Diwali, the October-November Festival of
Lights, celebrates Rama and Sita's return home to their
kingdom of Ayodhya.

A leader of the monkey tribe, Hanuman allied with Rama against


Ravana. Hanuman has many magical powers because his father
was the god of the wind and his devotion to Rama, and his
supernatural feats in the battle to recapture Sita, has made him
one of the most popular characters in the Ramayana and later
a favorite god amongst Indians.

Though made in 2012, the brooch component of lot 40


incorporates the large 19th century carved emerald mentioned
above, along with other Mughal emeralds from a similar time Portrait of Mrs. Marjorie Merriweather Post Hutton and Nedenia Hutton
by Giulio de Blass; she is wearing a shoulder brooch of similar design to
period. The brooch was inspired by the incredible emerald, Lot 40.
diamond and platinum brooch from collection of Marjorie
Hillwood Estate, Museum, & Gardens
Merriweather Post. Created in 1923, the brooch remains in
her collection at the Hillwood Estate, Museum & Gardens
in Washington, D.C.

63
40
A CARVED EMERALD WITH TWO INTERCHANGEABLE
EMERALD AND DIAMOND MOUNTINGS, CARTIER

Interchangeable brooch set with a hexagonal carved emerald of


380.98 carats, reversible with one side depicting Lord Rama, his wife
Sita and their loyal servant, the monkey god Hanuman, the reverse
depicting a poppy blossom, circular-cut diamonds, platinum (French
mark), 2¾ ins., emerald 19th century, signed MT Cartier, maker's mark,
no. SC2697

Brooch mounting, cabochon emerald drops, cushion-shaped carved


emerald, circular-cut diamonds, platinum and 18k white gold (French
marks), 7⅝ ins., 2012, signed MT Cartier, maker's mark, no. SC2697

Jigha mounting, cabochon emerald drop, circular-cut diamonds,


platinum and 18k white gold (French marks), 7½ ins., 2012,
signed MT Cartier, maker's mark, no. SC2699
AGL, 2019, report no. 1100391: 380.98 carats, Colombia,
minor clarity enhancement, traditional type
AGL, 2019, report no. 1100392: Brooch mounting, 6 emeralds tested,
Zambia, moderate clarity enhancement, traditional type
AGL, 2019, report no. 1100428: Jigha mounting, Brazil,
minor clarity enhancement, traditional type
SSEF, 2011, report no. 59871: 380.982 carats, Colombia,
indications of clarity modifcation, moderate amount of oil in fssures

PROVENANCE:
Christie's, London, 23 September 2005, lot 168 (emerald, unmounted)
Christie's, New York, 22 April 2010, lot 43 (emerald, unmounted)

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 151, no. 94
The Miho Museum, Koka 2016, p. 204, no. 163
Grand Palais, Paris 2017, p. 375, no. 277
The Doge’s Palace, Venice 2017, p. 381, no. 268
The Palace Museum, Beijing 2018, p. 383, no. 268

64
41
AN IMPERIAL SPINEL BEAD

Tumbled spinel bead of 14.90 carats

INSCRIBED:
(actual size) Shah Jahan

66
(alternate views)

42
AN ANTIQUE SPINEL AND GOLD SEAL RING WITH HIDDEN KEY

Rectangular-cut spinel, gold, opens to reveal an extendable gold key, ring size 6¾,
mid to late 19th century, the spinel is inscribed in reverse for use as a seal

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 79
The Miho Museum, Koka 2016, p. 134, no. 100

LITERATURE:
Jafer 2013, p. 206, ill. p. 273, no. 96

INSCRIBED:
The Rustam of the Age, the Aristotle of the Time, Fath Jang Sipah Salar 1302 Muzafar al-Mamalik Nizam
al-Mulk Mir Mahbub 'Alikhan Bahadur Asaf Jah Nizam al-Dawlah'

67
43
AN IMPERIAL SPINEL BEAD

Tumbled spinel bead of 24.26 carats,


dated 1607 and 1628-29

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 31, no. 8
Grand Palais, Paris 2017, p. 57, no. 38
The Doge’s Palace, Venice 2017, p. 79, no. 36
The Palace Museum, Beijing 2018, p. 92, no. 37
de Young Legion of Honor, San Francisco 2018,
p. 59, no. 10

INSCRIBED:
Akbar Shahi
(actual size) Jahangir Shah
Akbar Shah
AH 1015

This important spinel includes the names of three


great Mughal emperors suggesting that it once
belonged to the Imperial Treasury, which was looted
after the Sack of Delhi by Nadir Shah in 1739. The
inscriptions on the spinel suggest that it was likely
passed down from emperor to emperor.

68
(alternate views)

44
AN IMPERIAL SPINEL BEAD

Tumbled spinel bead of 54.50 carats,


mid to late 17th century

PROVENANCE:
Mrs. David Graham Pole
Private Collection
Sotheby's, London, 26 April 2017, lot 191

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p. 81, no. 39

INSCRIBED:
Jahangir Shah [son] of Akbar Shah
Khurram [son] of Jahangir Shah 10 1024
(actual size)
1074 Alamgir

69
(image of reduced size)

45 46
A SHEEP-HEADED JADE DAGGER HILT A HORSE-HEADED JADE-HILTED DAGGER
NORTH INDIA, 1675-1725 WITH SCABBARD
INDIA, POSSIBLY DECCAN, CIRCA 1700
Set with ruby eyes
3½ ins. (9 cm.) long; ⅝ in. (1.6 cm.) wide Set with ruby eyes, watered-steel blade,
rain guard and chape with gold-damascened
decoration on both sides
14½ ins. (36.8 cm.) long
EXHIBITED AND CATALOGUED:
Grand Palais, Paris 2017, p.114, no.86
The Doge’s Palace, Venice 2017, p.138, no.85
The Palace Museum, Beijing 2018, p162, no.89

70
IMAGE OF ENLARGED SIZE 71
47
A JADE DAGGER HANDLE
NORTH INDIA OR DECCAN, 18TH CENTURY

The pale green jade pistol-grip handle inlaid with dark green jade fowering sprays
5¼ ins. (13 cm.) long

72
48
A CAMEL-HEADED CARVED JADE
DAGGER HILT
INDIA, 17TH CENTURY

In the form of a Bactrian camel, set with ruby eyes


5¼ ins. (13.2 cm.) long; 3⅛ ins. (8.1 cm.) wide

PROVENANCE:
Sven Gahlin Collection, acquired before 1968, sold
Sotheby’s, London, 6 October 2015, lot 143

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 1982,
pp.120-21, no.363
Grand Palais, Paris 2017, p.110, no.82
The Doge’s Palace, Venice 2017, p.138, no.86
The Palace Museum, Beijing 2018, p.162, no,90

The appreciation of fnely carved jade was another


way that the Mughal emperors continued the
traditions of their Timurid forebears. They collected
earlier carved jades; the famous white jade jug made
for Ulugh Beg now in the Gulbenkian collection
(inv.no.328) carries an engraved owner’s inscription
of Jahangir. They also commissioned jades in
considerable numbers, as is evidenced both by the
examples that survive, and also from contemporary
textual references. Dress daggers were among
the most treasured objects of a Mughal prince
or courtier. Cary Welch's examination of courtly
fgures in the Windsor Padshanama demonstrated
that the small number of daggers with animal hilts
were reserved for the use of princes, such as Dara
Shikoh and Shah Shuja, as well as a few senior
dignitaries (Welch 1985, pp.257-8, esp. f.116b (fg.1)
and f.71 (fg.2)). The present head is fnely carved and
acutely observed, including the curious, tongue-like
dulla which identifes this as a male of the species.
Jonathan Barrett writes: 'In pursuit of females in
season, the male camel infates a sac (known as a
dulla) in his upper palette. This protrudes from one
side of his mouth, and is accompanied by a frothy
spume of saliva. For some inexplicable reason
females fnd this attractive. The dulla is frequently
mistaken for the camel's tongue by those who are
ignorant about camelid physiology; female camels
however are not susceptible to this error.' (quoted
in Hales 2013, p.28, no.69). In the catalogue of the
Victoria and Albert exhibition where this hilt was
exhibited, Robert Skelton writes, 'Naturalistically
carved animal heads, more usually of horses or wild
goats, were favorite subjects of weapon hilts at this
time.’ For a further brief discussion of the importance
of naturalistic carved jade handles please see the
entries under lots 117 and 313.

73
49
A JADE POWDER HORN
INDIA, 1725-1775

Set with diamonds, rubies and emeralds


7⅛ ins. (18 cm.) long; 1⅞ ins. (4.9 cm.) high; 1⅞ ins. (4.9 cm.) deep

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.95, no.64
The Doge’s Palace, Venice 2017, p.126, no.74
The Palace Museum, Beijing 2018, p.150, no.78

LITERATURE:
Jafer 2013, pp.125, 187, no.55

74
50
A GEM SET JADE POWDER FLASK
MUGHAL INDIA, 18TH CENTURY

Of curved tapering form, the jade body carved in relief with a ram head with ruby eyes, one end
terminating with a fowerhead shaped lid, fnial with quatrefoil gold fower set with rubies and emeralds,
with gilt silver stopper and handle set on a lion shaped silver decoration, the top further decorated with
leaf shaped rubies in gold, with silvered case
6 ins. (15 cm.) long

LITERATURE:
Jafer 2013, p. 70, ill. p. 100, no. 26

75
51
A GEM SET GOLD POWDER HORN
INDIA, CIRCA 1850-1920

Set with diamonds, rubies and emeralds, eyes set with agates, removable
mouth plug, lid in shape of a fowerhead set with a large central ruby
7¼ ins. (18.5 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.217, no.203
The Doge’s Palace, Venice 2017, p.286, no.198
The Palace Museum, Beijing 2018, p.302, no.202

76
77
52
AN IMAGINARY FLOWER
AURANGABAD, NORTH DECCAN,
VS 1726/1669 AD

From a Siddantha-sara, Siddantha-bodha and


Aporaksha-siddantha of Maharaja Jaswant Singh
of Jodhpur (r.1629-1678 AD), opaque pigments
on a gold ground, the reverse with 15ll. black and
red devanagari written by Vyasa Madhava, gold
illuminated margins
Painting 7¾ x 4⅜ ins. (19.7 x 11 cm.);
folio 12¼ x 7½ ins. (31 x 19 cm.)

Further leaves from the same manuscript were


exhibited at the Metropolitan Museum of Art (Haidar
and Sardar, 2015, no.169, pp.292-3). The text refers
to a previous exhibition that published further leaves
and, one assumes, the colophon. The text contains
three philosophical works by the long-lived maharaja
of Jodhpur Jaswant Singh. He started out as a loyal
ally of the Mughal emperor Shah Jahan but backed
Dara Shikoh over Alamgir (Aurangzeb). Aurangzeb
showered honours and titles on him to in his loyalty,
and to assist in his military campaign against Shivaji
in the Deccan (Bose, 2015, p.174).

This volume shows clearly the mix of infuences


that were all to be found throughout India at this
time. The Hindu text is combined with Mughal-like
fowers, but with an Deccani imaginary favour and
the Aurangabad gold ground. These are framed in
borders that derive from the Ottoman cintamani
design. Attributing the manuscript without the
colophon would not be straightforward.

78
53
AN IMAGINARY CARNATION
AURANGABAD, NORTH DECCAN,
VS 1726 / 1669 AD

From a Siddantha-sara, Siddantha-bodha and


Aporaksha-siddantha of Maharaja Jaswant Singh
of Jodhpur (r.1629-1678 AD), opaque pigments on
a pounced gold ground, the reverse with 15ll. black
and red devanagari written by Vyasa Madhava,
gold illuminated margins
Folio 7⅞ x 4¾ ins. (20 x 12.1 cm.)

PROVENANCE:
Probably Shuja' al-Daula, Nawab of Awadh,
Lucknow (1731-75, r.1754-75)
Either John Dent or his brother William, Bengal,
by 1796; thence by descent to
Sir Robert Annesley Wilkinson Dent, C.B.
(1895-1983), sold Sotheby's, London,
11 April 1972, lot 106
Sven Gahlin Collection, sold Sotheby’s, London,
6 October 2015, lot 45

EXHIBITED AND CATALOGUED:


London, 1976
London, 1982
The Palace Museum, Beijing 2018, pp.45-51,
no.174

LITERATURE:
Zebrowski 1983, p.133, no.10

This painting was previously attributed to Haidar


Ali and Ibrahim Khan, two artists working at the
court of Sultan Muhammad Adil Shah of Bijapur
(r.1627-56), on grounds of the quality and also the
pricking of the gold ground (Zebrowski 1983, p.133,
nos.100-101, pp.132-3). The script on the reverse
and the decoration on the margin clearly show
it to have come from the same volume as the
previous lot. Please see the note to that lot for
further information.

This painting was formerly in the Dent Collection,


an exceptional group of approximately 150 paintings
and drawings of Persian, Mughal and Deccani
paintings, probably assembled in Bengal in the later
eighteenth century, by either John Dent, a lieutenant
in the Bengal Infantry from 1782 to 1792, or by
his brother William, who was at Patna, Buxar and
Tamluk from 1776 to 1796. A large number of works
in the collection had inscriptions indicating that
they had formerly been in the collections of Shuja'
al-Daula, Nawab of Oudh (1731-75).

79
54
A EUROPEAN LADY IN INDIAN DRESS
DECCAN, PROBABLY GOLCONDA, SECOND HALF 17TH CENTURY

Opaque pigments and gold on paper, cream and pink borders, cream leaf, seal
impression in lower right corner of Suhrab Khan khanazad Pad Shah Alamgir,
verso with a late 17th century portrait of a nobleman
Painting 6⅞ x 3⅞ ins. (17.6 x 9.8 cm.); folio 15¼ x 10¾ ins. (38.6 x 27.4 cm.)

PROVENANCE:
Sir Harrison Oulsnam, former Secretary to the Government of India in the
Department of Health (1898-1972), sold from his estate, Sotheby's, London,
27 March 1973, lot 28
The Khosrovani-Diba Collection, sold Sotheby's, London,
19 October 2016, lot 14

The style of this elegant portrait is comparable to a number of paintings produced


in Golconda 1660-80, characterized by a bolder and more intense use of color.
One such portrait of an African courtier (Zebrowski, 1983, p.164) and a portrait of
Sayyid Shah Kallimullah Husayni in the David Collection (inv. no. 68/1979)
share the vivid background with distinctive fowers in the foreground as in the
present painting.

This attribution is supported by the costume of the present fgure. Female fgures
wearing fringe-like décolletage appear in works attributed to a late seventeenth
century artist working in Golconda, Rahim Deccani. These include a drawing in
the Chester Beatty Library (Leach, 1995, vol.II, no.9.681, p.952) and a lacquered
box in the Victoria and Albert Museum (inv. no. 851-1889, Zebrowski, 1983, no.169,
pp.202-203).

80
IMAGE OF ENLARGED SIZE
55
A PAIR OF ANTIQUE DIAMOND, ENAMEL AND MULTI-GEM KADAS

Each bangle set with pear-shaped ruby cabochons, pear and mixed-shape table-cut diamonds, cabochon
emeralds, pearls, red, green and white enamel, foil, gold on a lac core, each diameter 1¾ ins., 19th century

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2009, p. 120, no. 99
Munich 2010, p. 120, no. 99
Metropolitan Museum of Art, New York 2014, p. 71
Victoria and Albert Museum, London 2015, p. 99, no. 52
The Miho Museum, Koka 2016, p. 149, no. 113
Grand Palais, Paris 2017, p. 243, no. 180
The Doge’s Palace, Venice 2017, p. 258, no. 177
The Palace Museum, Beijing 2018, p. 278, no. 181
de Young Legion of Honor, San Francisco 2018, p. 180, no. 108

LITERATURE:
Jafer 2013, p. 166, ill. p. 195, no. 76

82
56
AN ART DECO RUBY, EMERALD AND DIAMOND JIGHA

The turban ornament set with carved rubies, circular, cushion and oval-cut rubies, rectangular-cut
and pear-shaped cabochon emeralds, old-cut diamonds, gold, with brooch ftting on the reverse, 2⅝ ins.,
mid-20th century

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 145, no. 88
The Miho Museum, Koka 2016, p. 131, no. 97
Grand Palais, Paris 2017, p. 281, no. 210
The Doge’s Palace, Venice 2017, p. 295, no. 204
The Palace Museum, Beijing 2018, p. 311, no. 208

The open gold setting of this turban ornament is indicative of strong European infuence during the early
20th century. This jigha is based on traditional elements of Indian jewelry, however, the larger carved rubies
and old-cut diamond surrounds are highly European.

83
57
AN ANTIQUE CARVED EMERALD AND RUBY BIRD

Designed as a carved emerald bird, circular cabochon


rubies, gold, 1 in., 17th to 18th century

(actual size)

84
58
AN ANTIQUE CARVED EMERALD FROG

Carved emerald frog of 6.85 carats,


10.00 x 12.20 x 9.55 mm, 17th to 18th century
AGL, 2019, report no. 1100340: 6.85 carats, Colombia,
minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 204, no. 154
The Doge’s Palace, Venice 2017, p. 87, no. 45
The Palace Museum, Beijing 2018, p. 101, no. 46
(actual size)

85
59
AN EMERALD BUTTON

With two drill holes on base to fashion as a


button, round cabochon emerald of 24.49 carats,
16.28-15.80 x 12.56 mm, late 16th or 17th century
AGL, 2019, report no. 1100305: 24.49 carats,
Colombia, minor clarity enhancement,
traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 46, no. 27
The Doge’s Palace, Venice 2017, p. 66, no. 25
(actual size) The Palace Museum, Beijing 2018, p. 79, no. 26

86
60
A CARVED EMERALD

Trapezoidal-shaped tabular carved emerald of


26.70 carats, 23.48 x 28.46 x 5.24 mm, mid to late
17th century
AGL, 2019, report no. 1100342: 26.70 carats,
Colombia, insignifcant clarity enhancement,
traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015,
pp. 54-55, no. 19
The Miho Museum, Koka 2016, p. 170, no. 132 (actual size)
Grand Palais, Paris 2017, p. 44, no. 20
The Doge’s Palace, Venice 2017, p. 63, no. 18
The Palace Museum, Beijing 2018, p. 75, no. 19
de Young Legion of Honor, San Francisco 2018,
p. 171, no. 13

LITERATURE:
Jafer 2013, p. 96, no. 16

87
61
AN ANTIQUE EMERALD AND DIAMOND JIGHA

The turban ornament set with oval cabochons, circular and rose-cut emeralds,
emerald drop and taveez bead, old, rose and single-cut diamonds, foil, gold
and silver-topped gold, lower portion is detachable and may be worn as a
brooch, 5 ins., 19th century

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p. 247, no. 169
The Palace Museum, Beijing 2018, p. 267, no. 173

(actual size)

88
89
62
AN ANTIQUE EMERALD AND GOLD RING

Hexagon-shaped portrait-cut emerald, foil, gold,


ring size 6½, early 20th century

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 137, no. 103

LITERATURE:
Jafer 2013, p. 273, no. 95

INSCRIBED:
From the Qur'an, surah 13 (Al-Ra'd, The Thunder),
beginning of verse 13: And thunder glorifes and
praises Him, and so do the angels because of His Awe
(actual size alternate views)

90
63
AN ANTIQUE SAPPHIRE AND GOLD RING

Octagonal modifed mixed-cut sapphire, gold,


ring size 5½, early 20th century
AGL, 2019, report no. 1100347: Ceylon,
no gemological evidence of heat
or clarity enhancement

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 283, no. 212
The Doge’s Palace, Venice 2017, p. 297, no. 206
The Palace Museum, Beijing 2018, p. 313, no. 210 (actual size alternate views)

Made in yellow gold with a stylized open-work foral


motif, this ring was likely produced by a leading
jeweler in Hyderabad. The prong-setting of the
sapphire is a highly westernized element.

91
64
A PAIR OF ANTIQUE RUBY, EMERALD AND PEARL KADAS

The pair of bangles set with oval cabochon rubies, oval cabochon and rectangular-cut emeralds,
pearls, gold, each diameter 2⅜ ins., 19th century, pearls restored at a later date

LITERATURE:
Jafer 2013, p.141, ill. p. 191, no. 64

92
65
AN ANTIQUE DOUBLE-STRAND GOLD
LONGCHAIN NECKLACE

Gold plaques of foral motif, 57½ ins., 401.2 g,


19th century

PROVENANCE:
Nizams of Hyderabad

IMAGE OF REDUCED SIZE 93


66
AN ANTIQUE DIAMOND, EMERALD AND
RUBY BIRD BROOCH

Designed as a bird, old and rose-cut diamonds,


carved emerald bead, circular cabochon rubies,
silver, 2¼ ins., early 19th century
SSEF, 2015, report no. 80550: Colombia,
indications of clarity enhancement, moderate oil

(actual size)

94
67
AN ART DECO CARVED EMERALD AND
DIAMOND CLIP-BROOCH, TIFFANY & CO.

Hexagonal-shaped carved emerald, old, baguette,


trapezoid, triangular and lozenge-shaped
diamonds, platinum, 1⅜ ins., circa 1925,
signed Tifany & Co.

(actual size)

95
68
A NATURAL PEARL AND DIAMOND NECKLACE, CARTIER

A graduated strand of thirty-seven round to oval natural pearls of


14.00 to 7.05 mm, old-cut marquise-shaped diamond, platinum
(French marks), 15¼ ins., unsigned, partial maker's mark, red Cartier soft case
SSEF, 2016, report no. 85153: 37 natural pearls, saltwater, with Appendix
letter attesting to the 'extraordinary characteristics' of the necklace

PROVENANCE:
By repute, Rajmata Gayatri Devi of Jaipur

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 331, no. 246
The Doge’s Palace, Venice 2017, p. 343, no. 239
The Palace Museum, Beijing 2018, p. 352, no. 243
de Young Legion of Honor, San Francisco 2018, p. 184, no. 148

This natural pearl and diamond necklace reputedly belonged to Rajmata Gayatri
Devi, wife of Maharaja Sawai Man Singh II of Jaipur. She was considered to be
among the most beautiful women in the world and often traveled between India
and Europe. Usually seen in a colorful chifon sari and a string of pearls, the
Rajmata was politically active, especially passionate about women's rights. After
India's Independence, she had a landslide victory and was elected to the Lower
House of India's bicameral Parliament in 1962.

Portrait of Gayatri Devi, Rajmata of Jaipur and wife of Maharaja Jai Singh
taken on July 25, 1980 in India; she is wearing a pearl necklace, her
preferred accessory among her jewelry.

The India Today Group/Getty Images

96
97
69
A JADE AND GEM SET HUQQA MOUTHPIECE
NORTH INDIA, CIRCA 1800

Set with diamonds, rubies and emeralds in gold and silver


3¼ ins. (8.2 cm.) high

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p.39
Victoria and Albert Museum, London 2015, p.76, no.33
Grand Palais, Paris 2017, p.96, no.66
The Doge’s Palace, Venice 2017, p.121, no.70
The Palace Museum, Beijing 2018, p.143, no.73

LITERATURE:
Jafer 2013, p.118, no.45

98
70
A JADE AND GEM SET HUQQA MOUTHPIECE
NORTH INDIA, 1750-1800

Set with rubies and emeralds in gold


2¾ ins. (7.1 cm.) high; ¾ in. (1.9 cm.) diam.

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p.39
The Miho Museum, Koka 2016, p.88, no.58
Grand Palais, Paris 2017, p.96, no.65
The Doge’s Palace, Venice 2017, p.121, no.69
The Palace Museum, Beijing 2018, p.142, no.72

LITERATURE:
Jafer 2013, pp.118, 184-85 no.44

99
71
AN ENAMELLED AND GEM SET HUQQA SET
INDIA, POSSIBLY DELHI, CIRCA 1680-1720

Set with diamonds, rubies and emeralds, consisting of three parts, vase,
hose port with stem and tray, with cloth-covered base and pipe
22⅝ ins. (57.5 cm.) high

This huqqa base, noticeably larger than almost all other spherical examples,
was almost certainly made in the imperial Mughal workshop. The techniques
are very laborious, each stone having its own deep straight-sided compartment
separately fashioned rather than just using a hammered depression in the main
ground metal. The gauge of gold used is thick, with no apparent fller artifcially
increasing the strength (and apparent weight). But it is the design that links it
closely to items made for the Mughal court. The use of this tone of red ground
as a background to large foral sprays is immediately reminiscent of the Peacock
Throne, removed from Delhi by Nadir Shah and now in the Topkapi Palace in
Istanbul (Zebrowski, 1997, pl.55, p.73). The other main colors are also the same,
a dark green and, most unusually, a translucent lime green.

The base of the huqqa also echoes the design on a dish also taken by Nader Shah
from Delhi and in this instance sent to the Russian Empress in St. Petersburg
(idem, pl.33). The whole base is a single large open lotus fower. Now lacking
much of the enamel, it must have been very powerful when frst made. The
fowers on the main panels do not have the naturalism of those of the Shah
Jahan period, but the strength of design, and the lack of minor borders, one feld
generally going straight into the next, is indicative of a date in the
later 17th century.

Smoking was introduced to the Mughal court by the Europeans via the Arab world
and thence to the Deccan. The famous extended quote of Asad Beg in his Wiqaya’
written in the early 17th century gives a detailed account of how he brought both
the material and the equipment from Bijapur to the Mughal court in Delhi.

100
IMAGE OF REDUCED SIZE 101
72

73

72 73
A DIAMOND-SET GOLD AND EMERALD AN ENAMELLED AND GEM SET HUQQA
HUQQA MOUTHPIECE MOUTHPIECE
INDIA, CIRCA 1920 JAIPUR, NORTH INDIA, 1800-1850

The body set with diamonds, the tip surmounted Set with diamonds and emeralds, on a gree
with an oval shaped emerald n and red enamelled ground further enhanced
4 ins. (10 cm.) long with white, lilac and black enamels
6¾ ins. (17.3 cm.) high

PROVENANCE:
Nizams of Hyderabad EXHIBITED AND CATALOGUED:
Grand Palais, Paris 2017, p.199, no.150
This example illustrates the infuence of European The Doge’s Palace, Venice 2017, p.230, no.157
jewelry designs and techniques in 20th century
The Palace Museum, Beijing 2018, p.252, no.161
Indian gem set objects.
LITERATURE:
Jafer 2013, p.194, no.71

102
74
AN ENAMELLED AND GEM SET HUQQA MOUTHPIECE
INDIA, 19TH CENTURY

Set with diamonds, rubies and emeralds


6¼ ins. (16 cm.) high

103
75
A CALLIGRAPHIC ALBUM PAGE
INDIA, DECCAN, BIJAPUR OR GOLCONDA, CIRCA 1700

Gold and color on paper, black leaf with dense gold fowering vine,
backed on cream card with three Mughal seal impressions
Folio 8⅝ x 6¼ ins. (21.7 x 15.7 cm.)

INSCRIBED:
In large thuluth: allah al-'adl, 'Allah the just', in kufc: al-khabir, al-latif, al-halim,
'The All-Aware, The Kind, The Forbearing'

A very similar leaf was sold in these Rooms 12 September 2012, lot 612, with
further leaves from the same album forming lots 610 and 611 in the same
sale. The calligraphy here, with its play on the orientation of the lettering, and
particularly the coloring with the extensive use of gold on a deep red and black
ground, resembles the calligraphic panels included in the mihrab wall of the Jama
Masjid in Bijapur. This magnifcent building was erected by `Ali Adil Shahi after
his victory over the Vijaynagara empire in 1578. A further leaf, identical to one of
those in lot 611 but with the ground colors reversed, is in the Kronos collection,
and was exhibited, attributed to Golconda, in the Metropolitan Museum of Art
in 2015 (Haidar and Sardar, 2015, no.105, p.212). The catalogue entry there
discusses the technique used to create this design and its links to the practices
of bookbinding.

104
IMAGES OF ENLARGED SIZE
A FOLIO FROM THE LATE SHAH JAHAN ALBUM

76
RECTO WITH A PORTRAIT OF A COURTIER,
PROBABLY GHAZI KHAN, ZAFAR JANG
VERSO WITH A NASTA'LIQ QUATRAIN WRITTEN BY MIR 'ALI
THE PAINTING MUGHAL INDIA, CIRCA 1650-58 AD, THE CALLIGRAPHY
CALLIGRAPHY SIGNED BY MIR 'ALI, HERAT OR BUKHARA, The calligraphy on our Late Shah Jahan Album folio is signed al-muthnib ‘Ali,
LATE 15TH/EARLY 16TH CENTURY probably referring to Mir 'Ali al-Katib (1465-1544 AD). Mir ‘Ali is often mentioned
by Safavid sources as amongst the most important nasta'liq calligraphers of all
Opaque pigments heightened with gold on paper, recto an extremely
time. Various authorities attribute the codifying of the aesthetic rules of nasta'liq
sensitively observed portrait on plain ground, the margins with mostly military
script to him. Born in Herat circa 1476, he was later taken to Bukhara by the
fgures surrounded by gold foral sprays, verso with four very strong diagonal Shaybanid ruler 'Ubaydullah Khan after his capture of Herat in AH 935/1528-29
lines of nasta'liq, on scrolling gold and polychrome foral ground, signed AD (Mehdi Bayani, Ahval va Asar-e Khosh-Nevisan, vol. II, Tehran 1346 sh., p.494).
katabahu al-mudhib 'Ali al-Katib, within illuminated borders decorated with His recorded works are dated between AH 914/1508-09 AD and AH 951/1544-
birds amidst scrolling vines 45 AD. The works of leading Persian calligraphers were particularly prized at the
Folio 15¼ x 10 ins. (18.6 x 25.4 cm.) Mughal court and Mir ‘Ali was amongst those particularly admired by Jahangir.
A large number of qit’as signed by him found their way into important Mughal
albums, and he is the calligrapher responsible for most of the specimens in the
Late Shah Jahan Album. It is possible that they were brought to the Mughal court
PROVENANCE:
by way of his son Muhammad Baqir who emigrated to India and was mentioned
Georges Demotte, Paris 1909
by Abu’l Fazl’s in his Ain-i Akbari (Islamic Calligraphy, 1998, p.170-171, no.54,). A
Leila Diba Collection
comparable folio from a royal album made for Shah Jahan, probably the Late Shah
Sarikhani Collection Jahan Album, with foral margins surrounding a calligraphic panel signed by Mir
EXHIBITED AND CATALOGUED: ‘Ali, sold in these Rooms, 9 October 2014, lot 136.
The Palace Museum, Beijing 2018, pp.464-65, no.177

THE ALBUM
The ‘Late Shah Jahan Album’ was so called because it was compiled during the
last decade of Shah Jahan’s reign, between 1650 and 1658. The paintings in
the album date from about 1620 to 1657, with an emphasis on single standing
portraits of Mughal dignitaries. The associated calligraphic folios are by the
well-known 16th century Iranian calligrapher Mir ‘Ali, most of them signed by him.
The unsigned ones are also thought to be the work of Mir ‘Ali, with the exception
of a single folio which is signed by Sultan ‘Ali Mashhadi. The album is assumed
to have been part of the loot taken by Nadir Shah from Delhi in 1739. In the late
19th century it was taken to Russia by a brother of Nasir al-Din Shah, the Qajar
ruler of Iran, and sold to an Armenian dealer who subsequently brought it to Paris
in 1909 and sold it to the French dealer, Georges Demotte. It was dispersed in
Paris after Demotte split many of the folios separating the paintings from their
associated calligraphic sides. For a detailed discussion of the album, see Wright
2008, pp.106-139. For a list of known folios from the Late Shah Jahan Album, see
Ibid., App.3, pp.462-466.

THE MAIN SUBJECT AND BORDERS


The most distinctive feature of the Late Shah Jahan Album are the seated and
standing fgures in the borders surrounding the central paintings. The usual
format for the border fgures surrounding non-royal Mughal subjects, like our
portraits, is three standing fgures in the long outer border and single or pairs
of fgures seated in the upper and lower borders. If the subject of the central
painting has a military association, the standing border fgures are often depicted
carrying various types of arms. The border fgures are attendants of the main
subject and represent his wealth or military prestige. The paintings in the Shah
Jahan album only illustrate individuals of importance at the Mughal court during
Shah Jahan's reign. Ghazi Khan, of Uzbek origin, was in charge of the campaigns
for Qandahar, so well depicted in the Padshahnama.   He was a close friend
of Dara Shikoh,which certainly contributed to his advancement. He served as
Governor of Kabul and was given the title Zafar Jang by the emperor.

On the other side of the folios, the borders surrounding the panels of calligraphy
comprise either arabesques or fowering plants which are sometimes illustrated
with colorful birds as is the case with our folio.
(verso)

106 IMAGE OF REDUCED SIZE


IMAGE OF REDUCED SIZE
77
PORTRAIT OF SHAH JAHAN
MUGHAL INDIA, CIRCA 1700

Opaque pigments and gold on paper, on cream album leaf painted with gold foral sprays,
backed on cream card
Painting 6¾ x 3⅝ ins. (17.1 x 9.4 cm.); folio 14 x 9⅝ ins. (35.5 x 24.6 cm.)

LITERATURE:
The Palace Museum, Beijing 2018, p.114, fg.4
Château de Fontainebleau, 2018, p. 148, cat. 33

108 IMAGE OF ENLARGED SIZE


78
A PORTRAIT OF THE EMPEROR AURANGZEB (R.1658-1707)
MUGHAL INDIA, CIRCA 1700

Opaque pigments on paper, remains of faint identifcation inscription near the face of the
standing fgure in Devanagari, backed on cream paper
Painting 7 x 4⅝ ins (17.8 x 11.7 cm.)

EXHIBITED AND CATALOGUED:


The Palace Museum, Beijing 2018, p. 474, no. 180

INSCRIBED:
In Devanagari Padshah Aurangzeb
IMAGES OF ENLARGED SIZE 109
79
A SWORD (TALWAR) WITH SCABBARD AND ASSOCIATED
GEM-ENCRUSTED LOCKET AND CHAPE
INDIA, 19TH CENTURY

The sword hilt enamelled and set with diamonds, rubies and spinels,
watered-steel blade, the locket and chape set with diamonds, rubies, spinels
and emeralds, some colored gems foilbacked
Sword 37⅞ ins. (88.5 cm.) long; locket 9 ins. (22.8 cm.) long;
chape 8⅝ ins. (22 cm.) long

110 IMAGES OF REDUCED SIZE


IMAGE OF REDUCED SIZE
IMAGES 111
80
A SERPENTINE AND ROCK-CRYSTAL HILTED DAGGER
NORTH INDIA, HILT PROBABLY 19TH CENTURY; BLADE INDIA
OR IRAN, DATED AH 1198/1783-84 AD

Watered-steel blade, rain guard signed and dated


18¾ ins. (47.5 cm.) long; 2½ ins. (6.5 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.131, no.101
The Doge’s Palace, Venice 2017, p.156, no.102
The Palace Museum, Beijing 2018, p.180, no.106
de Young Legion of Honor, San Francisco 2018, p. 92, no. 34

LITERATURE:
Hales 2013, p.27, no.67

INSCRIBED:
In Persian on both sides of the blade ‘Oh Allah, work of Isfahan 1198’

This elegant dagger hilt, along with a similarly decorated sword (Lot 81) and a
fywhisk (Lot 82) in this sale, belongs to a very small group of objects which
were probably produced in the same workshop. The sophisticated craftsmanship
suggests an attribution to an imperial atelier. This rare combination of two
diferent hardstones, rock crystal set into jade, with each rock crystal panel foiled
and carved on the inside creates a dazzling pearl-like efect (Beijing 2018, p.181).
The decoration is reminiscent of the Sheesh Mahal or Aina Mahal, ‘Hall of Mirrors’,
a feature in several 17th and 18th century Mughal and Rajput buildings in north
and western India. These were pleasure pavilions intricately decorated with
thousands of small mirrors, glass tiles and pietra dura mosaics.

The hilt is set with an impressive blade decorated with gold koftgari overlay and
pierced with three channels containing several steel balls. Robert Hales notes that
blades with free running steel balls or with captive pearls are known from the 16th
century onwards. They are often referred to as ‘the tears of Allah’ or ‘the tears
of the aflicted’ (Hales 2013, p.27). The proportions of the carving and the use of
shallow relief of this form fnds comparison with Safavid Iranian blades.

There is a comparable 18th century dagger hilt in the Victoria and Albert Museum
in London (IS.02562) with very similar decoration which is probably from the
same centre of production. Sophie Makariou compares the decoration with a jade
mirror-back or screen in the Musée Jacquemart-André in Paris and with a huqqa
base in the Museum of Islamic Art in Doha (Paris 2017, p.130).

112
IMAGE OF REDUCED SIZE 113
81
A SERPENTINE AND ROCK-CRYSTAL HILTED SWORD
NORTH INDIA, HILT PROBABLY 19TH CENTURY, BLADE 1750-1800

The hilt carved from a single piece of jade, set with carved rock-crystal lozenges and rubies,
watered-steel blade inscribed and inlaid with gold royal parasol (chhattri)
36 ins. (92 cm.) long; hilt 5⅛ ins. (13 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp.132-33, no.102
The Doge’s Palace, Venice 2017, pp.158-59, no.104
The Palace Museum, Beijing 2018, pp.182-83, no.108
de Young Legion of Honor, San Francisco 2018, p. 176, no. 70

INSCRIBED:
Qur’an LXI (al-Saf), part v.13, ‘help from God and near victory’

For a brief note on the rare decoration of this sword hilt and for a similarly decorated a dagger hilt and fywhisk
handle in the sale, see lots 80 and 82. The single-edged curved watered-steel blade has a fuller on both sides
just below the rear edge. Inlaid in gold with an Arabic inscription from the Qur’an, the blade also bears a gold
parasol (chhatri) which is a symbol of imperial ownership (Beijing 2018, p.183).

114 IMAGE OF REDUCED SIZE


82
A SERPENTINE AND ROCK-CRYSTAL
FLYWHISK HANDLE
NORTH INDIA, HILT PROBABLY 19TH CENTURY

Of typical form, set with a diaper pattern of foiled rock-crystal


lozenges, rubies at fnial and collar
7⅛ ins. (18 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.130, no.100
The Doge’s Palace, Venice 2017, p.157, no.103
The Palace Museum, Beijing 2018, p.181, no.107
de Young Legion of Honor, San Francisco 2018, p. 176, no. 69

For a brief note on the rare decoration seen on this fywhisk


handle and for a similarly decorated dagger and sword hilt in the
sale, see lots 80 and 81.

115
83
A GEM SET JADE-HILTED DAGGER (KHANJAR) WITH SCABBARD
NORTH INDIA, 1740-80

Set with diamonds, rubies, and emeralds, set in silver and gold, watered-steel
blade, scabbard covered with later block-printed cotton
15 ins. (38 cm.) long; scabbard 11 ins. (28 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.129. no.99
The Doge’s Palace, Venice 2017, p.154, no.100
The Palace Museum, Beijing 2018, p.178, no.104

116
IMAGES OF REDUCED SIZE 117
84
A GEM SET JADE-HILTED DAGGER
NORTH INDIA OR DECCAN, CIRCA 1675-1700

Set with rubies, watered-steel blade, later cloth-covered wooden scabbard


with original gem set jade locket
14⅜ ins. (36.6 cm.) long

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 35, no. 40
Grand Palais, Paris 2017, p.120, no,91
The Doge’s Palace, Venice 2017, p.145, no,93
The Palace Museum, Beijing 2018, p.169, no,97
de Young Legion of Honor, San Francisco 2018, p. 90, no. 32

The form of this hilt derives from an early all-steel hilt type which ended in animal
heads. Good examples, both with curved katar-like blades, are in the Furusiyya
Collection (Mohamed, 2007, no.175, p.187) and in the Victoria and Albert Museum
(IS 86-1981; Skelton et al, 1982, no.421, p.131). Here the terminals have been
transformed into scrolls instead of tigers’ heads, but the material enables the
allusion to tigers to be made in the stripes (bubri) of the design. The previous
catalogue entries for this dagger point clearly to the signifcance of the tiger
stripes and their later association with Tipu Sultan. The design is far older than
this, appearing on 16th century and earlier manuscripts and textiles. Similar hilts
are noted as being worn by Prince Muhammad Muazzam Shah Alam Bahadur,
the second son of the emperor Aurangzeb, in around 1680 (Falk and Archer, 1981,
no.91). In his entry on the Furusiyya example Bashir Mohamed notes another
example worn by one of the princes in the famous image of The Princes of the
House of Timur by Mir Sayyed `Ali dating from 1550-1555 in the British Library
(inv.no.1913,0208,0.1). The blade here, of rare Indian form, is also found on a steel
hilted dagger dating from around 1600 in the al-Sabah Collection (LNS 1053 M).

118
IMAGES OF REDUCED SIZE 119
85 86

85 86
AN ANTIQUE RUBY, EMERALD AND GEM AN ANTIQUE RUBY, EMERALD AND
SET HAIR ORNAMENT GEM SET HAIR ORNAMENT

Oval-shaped ruby bead, oval cabochon rubies and Oval cabochon rubies and spinels, oval-shaped
spinels, oval cabochon emerald, old-cut colorless emerald, table-cut colorless gemstone, foil, gold,
gemstone, foil, gold, with pendant hoop, 2 ins., with pendant hoop, 2⅛ ins., 19th century
19th century

120
87
AN ANTIQUE GOLD AND DIAMOND HAIR ORNAMENT

Round and triangular faceted and table-cut diamonds, gold, 5⅜ ins., early 20th century

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 148, no. 112
Grand Palais, Paris 2017, p. 263, no. 196
The Doge’s Palace, Venice 2017, p. 274, no. 188
The Palace Museum, Beijing 2018, p. 292, no. 192
de Young Legion of Honor, San Francisco 2018, p. 132, no. 65

LITERATURE:
Jafer 2013, p.244, ill. p. 275, no. 102

121
88
AN ANTIQUE DIAMOND, RUBY AND PEARL PLAIT ORNAMENT

Designed as a hair ornament, rose-cut diamonds, rectangular and circular-cut


rubies, pearls, silver and gold, 12 ins., may separate into four sections of
5¼, 3⅝, 3 and 2⅛ ins., late 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 90
Victoria and Albert Museum, London 2015, p. 147, no. 111
Grand Palais, Paris 2017, p. 258-59, no. 192
The Doge’s Palace, Venice 2017, p. 276-77, no. 190
The Palace Museum, Beijing 2018, p. 294, no. 194
de Young Legion of Honor, San Francisco 2018, p. 133, no. 66

LITERATURE:
Jafer 2013, pp. 254-55, ill. pp. 274-75, no. 101

Lot 88 would have been worn over a single long braid or plait. Derived from the
Sanskrit word for cobra, a jadanagam is long and tapered and is often designed
as an abstract representation of a hooded serpent. A popular motif for female
jewelry, in Hinduism snakes are associated with fertility.

122
IMAGE OF REDUCED SIZE 123
89
AN ANTIQUE RUBY, EMERALD AND DIAMOND JIGHA

Designed as a turban ornament of elephant motif, pear and variously-shaped table-cut diamonds,
oval cabochon rubies and emeralds, table-cut emerald, foil, gold, 3⅜ ins., 19th century,
accompanied by a gold stand

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 223, no. 165
The Doge’s Palace, Venice 2017, p. 240, no. 164
The Palace Museum, Beijing 2018, p. 261, no. 168
de Young Legion of Honor, San Francisco 2018, p. 180, no. 99

The top of these two turban ornaments (Lots 89 and 90) extend to the left in the form of an abstract elephant.
Elephants, the traditional mount of a king, have long been associated with royalty and the presence of this
motif suggests that this jigha originally belonged to a royal family member or favored associate.

124
90
AN ANTIQUE RUBY, DIAMOND AND EMERALD JIGHA

Designed as a turban ornament of elephant motif, oval cabochon rubies, rose and table-cut diamonds,
cabochon emeralds, foil, gold, elephant design engraved on reverse with initials 'M. A.', 3¼ ins.,
19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 61
The Miho Museum, Koka 2016, p. 125, no. 92
Grand Palais, Paris 2017, p. 222, no. 164
The Doge’s Palace, Venice 2017, p. 240, no. 163
The Palace Museum, Beijing 2018, p. 261, no. 167
de Young Legion of Honor, San Francisco 2018, p. 119, no. 54

LITERATURE:
Jafer 2013, p. 136, ill. p. 189, no. 59

125
91
AN IMPERIAL SPINEL BEAD AND PEARL NECKLACE

Tumbled spinel beads, pearls, shortest length 16 ins. (adjustable), spinel bead of 50.08 carats
(right of center), spinels 17th century, necklace restrung at a later date

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p. 80, no. 38 (inscribed spinel)
The Palace Museum, Beijing 2018, p. 94, no. 39 (inscribed spinel)

INSCRIBED:
Jahangir Shah [son] of Akbar Shah 1020
Second Lord of the Auspicious Conjunction 1049 [1] 2 [?] (partially indistinct)

126
92
A SPINEL BEAD

Tumbled spinel bead of 9.34 carats, circa 1747-73

INSCRIBED:
Ahmad Shah Durr-e Durran (Ahmad Shah Pearl of Pearls) (actual size)

Ahmad Shāh Durrānī, also known as Ahmad Khān Abdālī,


was the founder of the Durrani Empire and is regarded as
the founder of the modern state of Afghanistan. He reigned
for 25 years between 1747-1772 and raided India eight
times during this time period.

127
93
AN ART DECO DIAMOND, ONYX AND ENAMEL LAPEL WATCH

Pear, single and old-cut diamonds, onyx, white and black enamel, black silk cord, restrung at a later
date, platinum and gold (French marks), manual movement, case 22.75 x 14.75 mm, 2¾ ins., circa 1925,
movement by Agassiz & Compagnie

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 141, no. 84
The Miho Museum, Koka 2016, pp. 190-91, no. 151
Grand Palais, Paris 2017, p. 316, no. 232
The Doge’s Palace, Venice 2017, p. 326, no. 226
The Palace Museum, Beijing 2018, p. 339, no. 230
de Young Legion of Honor, San Francisco 2018, p. 183, no. 131

128
94
AN ART DECO DIAMOND, EMERALD, ENAMEL AND PEARL PENDANT-WATCH, JANESICH

Old, single and rose-cut diamonds, pear-shaped emerald, black and white enamel, pearl, restrung at a
later date, platinum and 18k gold (French marks), manual movement, case width 16.08 mm,
pendant 2½ ins., cord 28 ins., circa 1925, dial signed Janesich, no. 7260

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 192, no. 152
Grand Palais, Paris 2017, p. 317, no. 233
The Doge’s Palace, Venice 2017, p. 326, no. 227
The Palace Museum, Beijing 2018, p. 339, no. 231

129
95
AN ART DECO EMERALD, DIAMOND, ONYX, ENAMEL AND PEARL LAPEL WATCH, MARZO

Old, rose, single and baguette-cut diamonds, futed emerald bead, onyx, enamel, pearls, platinum, 4½ ins.,
circa 1925, dial signed Marzo

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 318, no. 234
The Doge’s Palace, Venice 2017, p. 327, no. 228
The Palace Museum, Beijing 2018, p. 340, no. 232

130
96
AN ART DECO EMERALD, DIAMOND, ONYX AND ENAMEL LAPEL WATCH, CARTIER

Circular cabochon carved emerald, carved and polished emerald beads, circular cabochon emeralds,
single, old, rectangular and half moon-shaped diamonds, onyx plaques, black enamel, platinum, manual
movement, case width 18.05 mm, 5⅛ ins., circa 1925, signed Cartier, no. 03210, dial signed Cartier,
France, detachable in three places and may be worn as a shorter pendant or as a clip brooch

PROVENANCE:
Rita Dee Hassenfeld (1926-2015)
Leslie Hindman, Chicago, 16 September 2015, lot 421

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 319, no. 235
The Doge’s Palace, Venice 2017, pp. 328-29, no. 229
The Palace Museum, Beijing 2018, p. 341, no. 233

131
97
A SPINEL, NATURAL PEARL, DIAMOND AND EMERALD BEAD
'IMPERIAL MOGHUL NECKLACE' AND EARRINGS, CARTIER

Antique tumbled spinel beads, natural pearls, circular, briolette and rose-cut
diamonds, carved emerald bead of 25.89 carats, platinum and 18k white
gold (French marks), necklace 16½ ins., 2012, signed Cartier, nos. RE1943
(necklace), accompanied by a pair of earrings 2¼ ins., signed Cartier, no.
RE4121 (earrings), custom red Cartier case inscribed
'The Imperial Moghul Necklace'
Cartier, 2011: Certifcate of Authenticity (necklace)
Cartier, 2011: Certifcate of Authenticity (earrings)
AGL, 2009, report no. CS 41137: 17 spinels, Tajikistan, no enhancement,
letter attesting to the unique importance of the spinels
SSEF, 2011, report no. 58195: Emerald, 25.896 carats, Colombia,
moderate clarity enhancement, oil
SSEF, 2011, report no. 60723: 29 natural pearls, saltwater
SSEF, 2011, report no. 59289: Tassel, 50 natural pearls, saltwater

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 379, no. 279
The Doge’s Palace, Venice 2017, p. 384, no. 270
The Palace Museum, Beijing 2018, p. 386, no. 270

INSCRIBED:
On the spinel pendant: Akbar Shah Bahadur

This contemporary Cartier necklace is reminiscent of jewelry from the Mughal


period. Incorporating an antique spinel engraved 'Akbar Shah Bahadur', the
necklace continues the frm's tradition from the early twentieth century of
designing jewelry that highlights historical elements. The spinel refers to the great
Mughal ruler, Akbar Shah II, who was demoted to the rank of King of Delhi by the
East India Company in the early 19th century.

132
134
T H E A RCOT I I

When Queen Charlotte of Great Britain, wife of and the rest of the world, adopted a universal metric carat at the
King George III, died in 1818, her will was very precise on what beginning of the 20th Century. Once converted to metric carat,
should happen of her personal jewels, and especially some of weights correspond exactly to 33.70 and 23.65 carats.
her diamonds:
Harry Winston had the stones re-cut to improve their symmetry
‘…I give and bequeath the jewels received from the Nawab of Arcot and remove some surface scratches, bringing them to 31.01
to my four remaining daughters, or to the survivors or survivor in carats and 18.85 carats respectively. They were then mounted
case they or any of them should die before me, and I direct that in separate rings and sold. That is how the famous pair parted
these jewels should be sold and that the produce… shall be divided for the frst time.
among them, my said remaining daughters or their survivors,
share and share alike.’ Years later, when leaving the collection of Baroness Stefania
von Kories zu Goetzen, the Arcot II was slightly recut to achieve
Five important diamonds had indeed been gifted to her in 1777 the best color and clarity possible, now weighing 17.21 carats,
by a loyal British ally in South India, Muhammad Ali Wallajah, but still carrying the original magic of its Golconda origin.
Nawab of Arcot. Of incredible beauty, they were some of the
favorites of the Queen’s personal jewels. Still, against Queen
Charlotte’s will, her son, the future King George IV, appropriated
the diamonds for a few years before eventually selling them to
Rundell & Bridge, who in 1804 had been appointed jewelry and
silversmiths to the Crown by George III.

In 1837, the ‘Arcot’ diamonds ended up at auction. The historic


sale took place in London at Willis’s Rooms in St James’s. The
auction catalogue illustrated all of the fve diamonds, giving
their weights in grains. 'The Times' stated a few days before
the auction ‘We have been gratifed with a private view of the
extraordinary jewels, for some time past in the possession of
Messrs. Rundell, Bridge and Co… The celebrated Arcot diamonds
are of great brilliancy, and very large: among them are a superb
pair of earrings, which, in volume, shape, and purity we should say
far surpass anything of the kind.’.

Arcot I and II, the so-called pair of earrings, were purchased for
£11,000 by Emanuel Brothers of Bevis Marks, for their client
Robert Grosvenor, First Marquess of Westminster. He was to
present them to his wife, Eleanor Egerton, as a present; he had
also purchased the Nassak diamond from the same auction

Almost a century later, in 1930, still in the Grosvenor family,


the Arcot diamonds were given to Parisian jeweler Lacloche
to be mounted into the ‘Westminster Halo Tiara’ for Loelia,
third wife of the 2nd Duke of Westminster. She was famously
photographed in 1931 by Cecil Beaton wearing the magnifcent
tiara. It was then passed on to Anne Grovesnor, fourth wife
of the Duke, who wore it at the 1953 coronation of Queen
Elizabeth. After the Duke of Westminster died, it was not to be
seen until it appeared at auction in 1959 in London, sold by order
of the executors of the late Duke.

Harry Winston purchased the tiara for a then record £110,000.


He unmounted the two pear-shaped diamonds, which had
probably never been touched since they had been in Queen
Charlotte’s collection. Their respective weights were 33.70 and
23.65 carats. The discrepancy between these weights and the
opposite: The ‘Westminster weights indicated into the 1837 catalogue is understandable. In above: A 1913 advertisement for Lacloche
Halo Tiara’ worn by Loelia,
1837, the Arcot diamonds’ weights were stated in grains as 131
third wife of the 2nd Duke of below: To be sold by auction, by Messrs. J. G. and G. A.
Westminster. 1/2 and 92 grains. When translated into carats, it resulted in Sharp...on the 3d Thursday of July, 1837...the Nassuck
32.9 and 23 carats. But these are what we call ‘old carats’, when Diamond...and...the celebrated Arcot Diamonds, etc.
Cecil Beaton/Conde Nast
Collection/Getty Images a carat was about 0.2053 grams, before the United Kingdom, © The British Library/LEEMAGE/Bridgeman Images

135
98
'THE ARCOT II'

Pear brilliant-cut diamond of 17.21 carats


GIA, 2019, report no. 1132471891: 17.21 carats, D color,
Internally Flawless clarity, Type IIa
Gübelin, 2012, report no. 12020074: 17.21 carats, D color,
Internally Flawless clarity, Type IIa, appendix and 'Golconda' letter

PROVENANCE:
Muhammad Ali Wallajah, Nawab of Arcot (1717-1795)
Queen Charlotte (1744-1818), consort of George III, King of Great Britain
George, Prince Regent (1762-1830), later George IV, King of Great Britain, by descent 
Rundell & Bridge, London
Auction by Sharp, London, 20 July 1837
Emanuel Brothers, Bevis Mark, London
Robert Grovesnor, 1st Marquess of Westminster (1767-1845)
Hugh Grovesnor, 2nd Duke of Westminster (1879-1953), by descent
Sotheby’s, London, 25 June 1959, lot 20
Harry Winston
Baroness Stefania von Kories zu Goetzen (1939-2013)
Private Collection

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2015, pp. 329-30
Victoria and Albert Museum, London 2015, p. 44, no. 6
The Miho Museum, Koka 2016, p. 177, no. 139
Grand Palais, Paris 2017, p. 37, no. 6
The Doge’s Palace, Venice 2017, p. 47, no. 2
The Palace Museum, Beijing 2018, p. 54, no. 3
de Young Legion of Honor, San Francisco 2018, p. 50, no. 2

LITERATURE:
Khalidi 1999, p. 67
Balfour 2000, pp. 42-45
Jafer 2013, pp. 380-81, no. 125

(actual size)

136
99
AN ENAMELLED AND DIAMOND-SET
GOLD SPOON
NORTH INDIA, 19TH CENTURY

The reverse of the handle similarly decorated in


enamelled foral designs and three birds, leading to
a zigzag pattern and a fsh design on the neck.
5⅛ ins. (13 cm.) long

99
(alternate views)

100
AN ENAMELLED AND GEM SET
CIGARETTE CASE
NORTH INDIA, CIRCA 1900

The exterior surface is enamelled with dense foral


designs on all sides, the top is set with diamonds
and rubies in a lobed central cartouche and four
corner, the reverse is decorated with an enamelled
elephant within a lobed cartouche,
the interior is plain gold
3⅜ ins. (8.5 cm.) wide

100
(alternate views)

138
101
A FOOTED ENAMELLED GOLD BOWL
MUGHAL INDIA, 18TH CENTURY

Enamelled in translucent green, red and yellow with blue, white and black, the interior enamelled in
green and decorated with a central fowerhead with a band of foral frieze around the inner lip,
the base in plain gold, engraved with numerals
3 ins. (7.6 cm.) diam.; 1¾ ins. (4.5 cm.) high

139
102
AN ENAMELLED AND DIAMOND-SET GOLD CUP AND COVER
NORTH INDIA, CIRCA 1900

The interior in plain gold, the underside decorated with a small green fower
4½ ins. (11.5 cm.) high (including lid)

A very similar cup and cover, together with a saucer, was given to Edward, Prince of Wales, on his tour of
India in 1875-6 (inv.no.11424; RCIN Meghani, 2018, p.94). Presented by Ram Singh II, Maharaja of Jaipur the
catalogue suggests that it was made by Ghuma Singh of Jaipur who is recorded as having made a further
similar example in 1895 that is now in the Albert Hall Museum, Jaipur.

140
103
AN ENAMELLED AND DIAMOND-SET GOLD CUP AND COVER
NORTH INDIA, CIRCA 1900

The foot, tip and rim of the lid, and handle set with diamonds, the entire outer surface of the cup and lid
decorated with enamelled foral patterns, the interior of the cup in plain gold except the inner lip which has
a band of navy enamelled design, the base shows remains of blue enamel which is mostly lost,
the fnial on the lid is now missing
4½ ins. (11.5 cm.) high

141
104
AN ENAMELLED AND DIAMOND-SET
MODEL OF A HORSE AND GROOM
NORTH INDIA, 19TH CENTURY

The base in plain gold


3 ins. (7.7 cm.) wide; 2⅝ ins. (6.7 cm.) high

(alternate views)

142
105
AN ENAMELLED AND GEM SET
PEACOCK FITTING
MUGHAL INDIA, 19TH CENTURY

With a hollow cylinder on the back of the bird a


nd two suspension loops on each side of the base,
four further suspensions loops on the underside,
back of the raised tail gem set in diamonds on
green enamel
3⅝ ins. (9.2 cm.) high; 4 ins. (10 cm.) wide

105

106
AN ENAMELLED AND DIAMOND-SET
GOLD PEACOCK
NORTH INDIA, 19TH CENTURY

The rear decorated with engraved stripes on gold,


covered with green and white enamel, the base of
the foot in plain gold
3¼ ins. (8.2 cm.) high

106

143
107
AN ANTIQUE EMERALD, DIAMOND, RUBY AND SILK BELT

Octagonal-shaped table-cut emerald, variously-shaped table-cut diamonds,


oval cabochon rubies, gold, buckle 1¾ ins., belt 41½ ins., early 20th century

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 140, no. 105

LITERATURE:
Jafer 2013, p. 272, no. 92

144
(alternate views)

108
AN ENAMELLED GOLD BELT BUCKLE
NORTH INDIA, 1650-1700

Decorated with foral designs on both sides, recto in basse-taille technique,


and verso in cloisonne and painted enamelling, with fnely worked slide fastener, stamped 750
2⅛ x 1⅞ ins. (5.5 x 4.7 cm.)

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p.183, no.1221
The Palace Museum, Beijing 2018, p.209, no.125

145
146
M A H A R A N I SI TA DE V I
OF BA RODA

Maharani Sita Devi of Baroda (1917-1989) had that she would be seen crossing the square to go to Van Cleef &
a passion for natural pearls, emeralds, rubies and diamonds. Her Arpels, followed by some of her aids, carrying bags of gems to
many commissions at Cartier or Van Cleef & Arpels show her be remounted by the French house.
love for spectacular jewelry. After her wedding to the Maharaja
Pratapsingh Gaekwar of Baroda, she received jewels from the During the 1950s, she developed a reputation for living an
Baroda treasury to add to her collection. These gemstones extravagant lifestyle in Paris. The Maharani had many of her
and jewels dated back to the Mughal era. These included a traditional Indian jewels reset to ft the latest Western trends,
magnifcent seven-strand natural pearl necklace and a superb most of which was handled by the workshops of Van Cleef
three-row diamond necklace that suspended the Star of the & Arpels. Originally derived from the Baroda treasury and
South diamond of 128.80 carats and the English Dresden of although unsigned, it is likely that the emerald bracelet, Lot 109,
78.53 carats. was designed by Van Cleef & Arpels. This bracelet was worn
to complement a spectacular emerald necklace and a pair of
The Maharani led a lavish lifestyle, even after her husband was earrings by Van Cleef & Arpels that she also commissioned.
opposite: Party Given at deposed by the Indian Government in 1951. She and her beloved
Vagenende Restaurant in Paris: son, Sayajirao Gaekwar nicknamed ‘Princie’, continued to attend Lot 110, a grey pearl and diamond bracelet, was commissioned
Maharani of Baroda Who Has by the Maharani from Cartier in 1953. It was one of her favorites
The Most Beautiful Jewels in high-society events together for many years.
Paris and the Jeweller Irene and she paired the bracelet often with her three-row natural
Jacob, June 17, 1966 (b/w photo) Her strong personality was only matched by a poised elegance pearl necklace. Both bracelets, along with 46 other pieces from
wearing lot 110 and her very impressive collection of jewels contributed to her her collection, were sold by the Crédit Municipal de Monaco on
glamorous lifestyle. Legend has it that she would come to Paris 16 November 1974 in order to pay of the Maharani's debts.
Photo © AGIP / Bridgeman
Images and stay at the famous Ritz Hôtel, right on Place Vendôme, and

147
109
AN EMERALD BEAD AND DIAMOND BRACELET

Round to oval-shaped emerald beads, baguette, square and circular-cut


diamonds, platinum (French marks), 7⅛ ins., circa 1950
AGL, 2019, report no. 1100326: Excess of 50% tested at random, Colombia,
minor to moderate clarity enhancement, traditional type

PROVENANCE:
Maharani Sita Devi of Baroda (1917-1989)
Crédit Municipal de Monaco, 16 November 1974, lot 45
Sotheby's, Geneva, 15 May 2008, lot 434

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 332, no. 247
The Doge’s Palace, Venice 2017, p. 345, no. 240
The Palace Museum, Beijing 2018, p. 354, no. 244
de Young Legion of Honor, San Francisco 2018, p.184, no. 149

LITERATURE:
Papi and Rhodes 2013, p. 189

148
149
110
A NATURAL PEARL AND DIAMOND BRACELET, CARTIER

Drop, button and baroque-shaped gray and black pearls, marquise,


circular and baguette-cut diamonds, platinum (French marks), 6¾ ins.,
1953, signed Cartier, London, red Cartier case

PROVENANCE:
Maharani Sita Devi of Baroda
Crédit Municipal de Monaco, 16 November 1974, lot 5
Property of a Lady of Title
Christie's, Geneva, 13 November 2012, lot 253

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 346, no. 241
The Palace Museum, Beijing 2018, p. 355, no. 245

LITERATURE:
Meylan 2012, pp. 12, 27, 54, 60
Papi and Rhodes 2013, pp. 194, 201

Maharani Sita Devi of Baroda ordered this bracelet from Cartier London in 1953.
This same year, she also had similar earrings ordered from Van Cleef & Arpels.

(actual size)

150
151
111
A DIAMOND AND EMERALD NECKLACE

Graduated faceted diamond beads, single-cut diamonds, emerald bead, white silk cord, white gold,
longest length 24½ ins. (adjustable)

PROVENANCE:
Sheikh Saoud bin Mohamed bin Ali Al Thani

LITERATURE:
London 2015, p. 154, no. 97
Miho 2016, p. 25, no. 2
Paris 2017, pp. 358-59, no. 267
Venice 2017, p. 385, no. 271
Beijing 2018, p. 389, no. 271

152
153
112
A JADE AND RUBY ORNAMENT
MUGHAL INDIA, 17TH CENTURY

The pale green jade carved as a fower set with


a ruby centre, the back carved with petals in low
relief with two suspension loops
1⅜ ins. (3.5 cm.) wide

112

113
A GEM SET JADE ARM BAND
NORTH INDIA, 18TH CENTURY

Set with a diamond, rubies and emeralds,


reverse undecorated
1¼ ins. (3.1 cm.) wide

113

154
114
A CIRCULAR GEM SET JADE
SASH ORNAMENT
NORTH INDIA, LATE 17TH CENTURY

Set with a diamond, rubies and emeralds,


reverse with two suspension loops
1½ ins. (3.7 cm.) wide

114

115
A GEM SET JADE DISC
NORTH INDIA, SECOND HALF 17TH CENTURY

Set with a diamond, rubies and emeralds,


reverse inscribed in a fowerhead design
1⅝ ins. (4.2 cm.) wide

115

155
116
ANTIQUE RUBY, EMERALD AND PEARL WAIST TASSEL ELEMENTS

Two elements to be applied to a belt or waist tassel, pear-shaped cabochon


rubies, rectangular-cut emeralds, pearls, gold, ⅞ and ½ in., 19th century

(actual size)

156
117
A JADE ELBOW CRUTCH HANDLE
NORTH INDIA, CIRCA 1650

Set with agate and later-added diamonds in gold and silver settings LITERATURE:

5⅛ ins. (12.8 cm.) across Ray 2009, pp. 32-33, no,10


Jafer 2013, p.60, no.25

Naturalistic and zoomorphic imagery fourished under the rule of emperor


PROVENANCE:
Jahangir who, like his great grandfather Babur, was enamoured by nature and
Sheikh Saoud bin Mohamed bin Ali Al Thani the animal kingdom. His memoirs, Tuzuk-i-Jahangiri, repeatedly refer to the
EXHIBITED:
appearance, habitats and habits of various fora and fauna (Jahangir, 1909-1914).
He provides anecdotes of his encounters with animals, such as the ibex depicted
London 1982, pp.118-19, no.359
here, noting its agility (ibid., p.114).
New York 2014, pp.30-31
London 2015, pp.70-71, no.28 The Mughal fascination with fora and fauna was expressed frequently in painting
Miho 2016, p.44, no.19 and drawing, but also through carvings of dagger hilts and crutch handles in
Paris 2017, p.95, no.63 jade, rock crystal and ivory produced for courtly consumption. The present
Venice 2017, p.118, no.97 crutch handle (zafar takiya) is remarkable both for its delicate carving of the ibex
Beijing 2018, p.140, no.70 (rang), where even the fnest details such as the knotted harness demonstrate
San Francisco 2018, p. 72, no. 18 its outstanding craftsmanship. The hilt of a dagger in this sale, lot 313, presents
another magnifcent example of Mughal jade carving. A comparably beautifully
observed jade crutch handle carved in the form of two naturalistic blackbuck is in
the al-Sabah collection, Kuwait (Curatola et al., 2010, no. 282 p.302).

158
118
AN ENAMELLED AND GEM SET
ELBOW CRUTCH
MUGHAL INDIA, 1650-1700

The handle set with diamonds and rubies,


the stick made of three sections, base in plain gold
20⅞ ins. (52.8 cm.) high; 6⅛ ins. (15.6 cm.) wide;
1⅛ ins. (2.9 cm.) deep

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.170, no.129
The Doge’s Palace, Venice 2017, p.197, no.132
The Palace Museum, Beijing 2018, p.221, no.136
de Young Legion of Honor, San Francisco 2018,
p. 177, no. 78

LITERATURE:
Jafer 2013, p.105, no.37

A smaller but similarly elegant early Mughal enamelled


gold fakir’s crutch is in the al-Sabah Collection
(LNS 286 M; Keene and Kaoukji, 2001, no.6.42, p.80).

IMAGES OF REDUCED SIZE 159


119 No Lot
120
A JADE CRUTCH HANDLE
NORTH INDIA, 1700-1740

The handle is carved to each end with a band of leaves and foral motifs,
the sides and top are inset with diamonds, rubies and emeralds in
gold and silver
1¾ ins. (4.6 cm.) high; 4¾ ins. (12.3 cm.) wide

PROVENANCE:
Sotheby’s, London, 6 April 2011, lot 355

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p.92, no.43
Grand Palais, Paris 2017, p.104, no.72
The Doge’s Palace, Venice 2017, p.127, no.75
The Palace Museum, Beijing 2018, p.151, no.79

LITERATURE:
Jafer 2013, p.83, no.38

(actual size)

160
121
TWO JADE STEM CUPS
MUGHAL INDIA, 18TH CENTURY

Each cup set with table-cut diamonds and cabochon rubies and emeralds in silver and gold
2 ins. (5 cm.) high (each)

PROVENANCE:
Simon Ray, London, 2012

LITERATURE:
Ray, 2012, pp. 32-33, no.14

162
122
A GEM SET JADE CUP
NORTH INDIA, 1740-1780

Set with diamonds, emeralds and rubies in silver and gold


2⅜ ins. (5.9 cm.) high; 1½ ins. (3.7 cm.) diam. at top

PROVENANCE:
Bonhams, London, 4 October 2011, lot 255

EXHIBITED AND CATALOGUED:


Spink 1994, no.17
The Doge’s Palace, Venice 2017, p.124, no.72
The Palace Museum, Beijing 2018, p.148, no.76

163
123
A GOLD DAGGER HILT
SOUTH INDIA, 18TH CENTURY

In the form of a mythical creature issuing a foral spray from its mouth
4 ins. (10 cm.) high

164
124
A SPINEL, COLORED SAPPHIRE AND PEARL NECKLACE

Spinel and yellow sapphire taveez beads, pearls, shortest length 18½ ins. (adjustable),
18th century (beads), restrung at a later date

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 57, no. 22

LITERATURE:
Jafer 2013, p. 381, no. 128

165
125
A GEM-ENCRUSTED GOLD DAGGER HILT
INDIA, CIRCA 1850-1920

The entire surface set with rubies and emeralds,


the quillon set with a diamond on each end
5⅝ ins. (14.8 cm.) high; 3⅜ ins. (8.6 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp.268-69, no.200
The Doge’s Palace, Venice 2017, p.285, no.196
The Palace Museum, Beijing 2018, p.301, no.200

(detail reduced size)

166
126
A GEM SET GOLD SWORD HILT
NORTH INDIA, CIRCA 1850-1875

Set with rubies and emeralds on both sides


6⅝ ins. (17 cm.) high; 3⅝ ins. (9.2 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp.268-69, no.201
The Doge’s Palace, Venice 2017, p.286, no.197
The Palace Museum, Beijing 2018, p.301, no.201

For a spoon of similar design, see lot 205.

167
127
A CARVED EMERALD, DIAMOND AND PEARL TIKKA

The forehead ornament set with a carved emerald bead of fower bud design, round table-cut diamond,
graduated pearls, gold, 14¾ ins., 18th century (emerald), 20th century (pearl necklace)

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 53, no. 16
Grand Palais, Paris 2017, p. 52, no. 33
The Doge’s Palace, Venice 2017, p. 69, no. 28
The Palace Museum, Beijing 2018, p. 82, no. 29

LITERATURE:
Jafer 2013, p. 96, no. 15

Ornaments, like Lot 127, were worn by women in their hair. The carved emerald fower bud would have been
positioned at the front, near the forehead.

168
128
AN ANTIQUE EMERALD AND
DIAMOND PENDANT

Carved emerald, pear-shaped rose-cut diamond,


foil, gold, with two protruding lugs for suspension,
1⅛ ins., mid to late 18th century

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


(actual size)
The Doge’s Palace, Venice 2017, p. 70, no. 29
The Palace Museum, Beijing 2018, p. 83, no. 30

Originally strung on a necklace, this pendant has


small drill holes on the outer leaves that
allows for suspension.

169
129
AN ANTIQUE EMERALD AND DIAMOND SARPECH

The turban ornament set with cushion, oval, pear and drop-shaped
cabochon emeralds, variously-shaped old, circular and rose-cut diamonds,
foil, gold, plume holder at the reverse, sarpech 4¾ ins., strings each 24 ins.,
early 20th century, restrung at a later date
AGL, 2019, report no. 1100322: Colombia,
insignifcant to minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 67
The Miho Museum, Koka 2016, p. 127, no. 94
Grand Palais, Paris 2017, p. 227, no. 169
The Doge’s Palace, Venice 2017, p. 246, no. 168
The Palace Museum, Beijing 2018, p. 266, no. 172

170
130
AN ART DECO CORAL, NATURAL PEARL AND DIAMOND
JABOT 'CLIQUET' BROOCH, CARTIER

Geometric-shaped coral plaques, rose-cut diamonds, variously-shaped


natural pearls, platinum (French marks), 6 ins., 1922, signed Cartier,
no. C9843, green Cartier case

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 195, no. 155
Grand Palais, Paris 2017, p. 301, no. 223
The Doge’s Palace, Venice 2017, p. 325, no. 225
The Palace Museum, Beijing 2018, p. 338, no. 229
de Young Legion of Honor, San Francisco 2018, p. 138, no. 69

172
174
M A H A R AJA JAGAT J I T SI NGH
OF K A P U RT H A L A

In December 1905, before heading to the royal The Maharaja probably wore the aigrette on his turban at the
wedding of King Alfonso XIII and Princess Victoria Eugenia of royal wedding at the end of May 1906, where, during the same
Battenberg in Madrid, the Maharaja Jagatjit Singh of Kapurthala visit, he incidentally met a young Spanish famenco dancer,
went to Paris to prepare for the event. A great connoisseur of the Anita Delgado. She would become his ffth wife less than two
French art de vivre and culture, the Maharaja was an important years later. The peacock aigrette, linked to their frst encounter,
client of the jewelry houses of Place Vendôme and Rue de la was later seen worn by Anita Delgado, known as the Maharani
Paix. Looking for spectacular jewels, worthy of a royal wedding, Prem Kaur Sahiba after their marriage.
he entered the Mellerio boutique on December 7th, where he
discovered the perfect jeweled ornament.

A multi-century old French jewelry house dating back to 1613,


Mellerio’s destiny had constantly been linked with royal families.
European queens, starting with Queen Marie-Antoinette, bought
jewelry from the frm, as well as many writers, composers,
bankers, industrialists and all the great families of the French
and foreign aristocracy, as well as the upper-middle class.
Fashion icons ordered jewels that became emblematic of their
time, avant-garde even.

On his quest for an appropriate jewel, the Maharaja of


Kapurthala found at Mellerio a magnifcent enamel and
diamond peacock aigrette. The peacock, that mythical animal
venerated by numerous civilizations and especially by India,
had been a favorite of Mellerio ever since Empress Eugenie had
commissioned a peacock feather brooch in 1868. Emblematic of
their artistic repertoire, the bird motif justifed the combination Portrait of Jagatjit Singh (1872-1949),
of blue and green, which was unconventional in the jewelry of Maharaja of Kapurthala, India, engraving
by Cantagalli from photograph by Bourne
the day. The aigrette purchased by the Maharaja presented the
perfect combination of Indian infuence with a Western vision. De Agostini / Icas94 / Bridgeman Images

175
131
AN ANTIQUE DIAMOND AND ENAMEL PEACOCK AIGRETTE,
MELLERIO DITS MELLER

Rose-cut diamonds, blue, green, yellow and golden brown enamel, 18k gold
(French marks), 7 ins., 1905, signed Mellerio dit Meller, '9 Rue de la Paix, Paris'

PROVENANCE:
Maharaja Jagatjit Singh of Kapurthala and Anita Delgado

EXHIBITED AND CATALOGUED:


State Museums of the Moscow Kremlin, Moscow 2014, p. 322, no. 216
Victoria and Albert Museum, London 2015, pp. 122-23, no. 70
The Miho Museum, Koka 2016, pp. 160-61, no. 124
Grand Palais, Paris 2017, p. 293, no. 218
The Doge’s Palace, Venice 2017, p. 307, no. 210
The Palace Museum, Beijing 2018, p. 322, no. 214
de Young Legion of Honor, San Francisco 2018, p. 136, no. 67

Details of Lot 131 from the Mellerio dits Meller atelier’s record book

Courtesy of Mellerio archives

176
177
132
A BELLE ÉPOQUE EMERALD AND DIAMOND BROOCH

Crescent-shaped emerald, old and marquise-cut diamonds, platinum,


3¾ ins., circa 1910
AGL, 2019, report no. 1100336: Colombia,
insignifcant clarity enhancement, traditional type

PROVENANCE:
Anita Delgado (1890-1962)
Ajit Singh (1908-1982), by descent
Christie's, London, 12 December 2007, lot 201

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 124, no. 71
The Miho Museum, Koka 2016, p. 162, no. 125
Grand Palais, Paris 2017, p. 294, no. 219
The Doge’s Palace, Venice 2017, p. 308, no. 211
The Palace Museum, Beijing 2018, p. 323, no. 215
de Young Legion of Honor, San Francisco 2018, p. 182, no. 124

LITERATURE:
Hue-Williams and Sancroft-Baker 2016, p. 41

A N I TA D E L G A D O
Anita Delgado (1890-1962) was born in Malaga emerald. This magnifcent stone originally adorned
to a modest family of restaurateurs. The strikingly the Maharaja’s most prized elephant, until Anita
beautiful Anita took to the Madrid stage as a admired it and it was given to her on her nineteenth
dancer in her late teens. During a performance, birthday as an award for learning Urdu. Anita often
she captured the heart of Maharaja Jagatjit Singh wore this brooch as a forehead ornament at oficial
of Kapurthala, a charismatic Indian prince visiting events and when sitting for formal portraits.
Spain to attend the marriage of King Alfonso XIII to
Victoria Eugenia of Battenberg. Fiercely protective Popularly known as the Spanish Rani, on her
at frst, the Delgado family eventually allowed the marriage Anita took the name Prem Kaur, ‘Love
prince to meet their daughter. Preserving Anita’s of a prince.’ Over time, the romantic story of her
reputation, the Maharaja proposed to the young marriage, her candid charm and her great beauty
dancer and carried her of to Paris, where she won Anita international fame and she was often
underwent months of training, emerging as a true photographed and featured in social columns and
Parisienne and Maharani of Kapurthala. magazine covers.

As Jagatjit Singh of Kapurthala was among one Anita Delgado was also a strong philanthropic
of the frst Indian princes to patronize European character, who played a particularly important role
jewelers, often supplying them with precious stones in caring for the many Punjabi troops who fought on
from his own treasury to be set in the latest western European felds in World War I. Her marriage to the
style, the young Anita also developed a passion for Maharaja ended after eighteen years in 1925, and
jewelry. A jewel that was of particular importance with a generous fnancial settlement she returned
Anita Delgado Briones (1890-1962) Spanish to the Maharani was a Belle Époque emerald and to Europe. Her legendary jewels were passed to her
dancer, princess of Kapurthala c. 1920 only son, Ajit Singh (1908-1982).
diamond brooch. This brooch, Lot 132, was designed
PVDE / Bridgeman Images to highlight an extraordinary crescent-shaped

178
133
AN ART DECO EMERALD, RUBY, SAPPHIRE
AND DIAMOND BROOCH, MAUBOUSSIN

Baguette, half moon and single-cut diamonds,


pear-shaped carved emeralds, cabochon rubies
and sapphires, platinum (French mark), 1⅛ ins.,
circa 1930, signed Mauboussin

PROVENANCE:

(actual size) Christie’s, New York, 13 June 2007, lot 69


The Estate of a Distinguished New York Collector
Sotheby's New York, 18 April 2012, lot 367

180
134
AN ART DECO CARVED RUBY AND DIAMOND BROOCH,
ATTRIBUTED TO LACLOCHE FRÈRES

Carved rubies, old, single, baguette and triangular-cut diamonds, platinum and gold (French marks),
detachable pendant, 6⅝ ins., circa 1930, unsigned

EXHIBITED AND CATALOGUED:


State Museums of the Moscow Kremlin, Moscow 2014, p. 327
The Miho Museum, Koka 2016, p. 197, no. 157
Grand Palais, Paris 2017, p. 312, no. 229
The Doge’s Palace, Venice 2017, p. 332, no. 231
The Palace Museum, Beijing 2018, p. 344, no. 235
de Young Legion of Honor, San Francisco 2018, p. 183, no. 132

181
135
A BUST PORTRAIT OF A NOBLEMAN
MUGHAL INDIA, 17TH CENTURY

Recto with a portrait of a Mughal noble man, opaque pigments and gold on paper, in ruled gold and colored
borders, on gold-fecked cream leaf, verso with eight lines of Persian poetry
written diagonally in nasta'liq on cream ground
Painting 8¾ x 5⅝ ins. (22 x 14.3 cm.); folio 12½ x 9¼ ins. (31.7 x 23.5 cm.)

182 IMAGE OF REDUCED SIZE


136
THE EMPEROR JAHANGIR IN THE ZENANA
MUGHAL INDIA, 17TH CENTURY

Ink, opaque pigments and gold on paper, on foral album leaf, backed on cream card
Painting 8 x 5⅜ ins. (20.1 x 14.8 cm.); folio 12¼ x 8 ins. (31 x 20.4 cm.)

IMAGE OF REDUCED SIZE 183


137
TWO LADIES SHARING A TENDER MOMENT
ATTRIBUTABLE TO GOVARDHAN, MUGHAL INDIA, CIRCA 1615-20

Opaque pigments and gold on paper, on cream leaf painted with gold foral
lattice, backed on cream card
Painting 6⅜ x 4 ins. (16.3 x 10.1 cm.); folio 19¾ x 15¾ ins. (50 x 40.1 cm.)

EXHIBITED AND CATALOGUED:


Museum Reitberg, Zurich, 2010

LITERATURE:
Seyller, 2010, pp.54-55

This exquisitely detailed portrait of two women from the royal Mughal court
illustrates their indulgent and sumptuous courtly life. Unlike their male
counterparts who were often painted with detailed and distinguishable facial
features and accessories denoting their rank, for reason of propriety, harem artists
never gave away the identity of their sitters. As a result, the women are often
depicted as general beauties who at times were engaged in amorous acts, such
as the scene here. The artist has captured a real sense of tenderness between the
women as they gaze deeply into each other’s eyes. They are portrayed at equal
height, similarly bejeweled denoting the same social status.

This work has been attributed to Govardhan, often described as the most
talented artist in capturing his sitters' emotions. He was an artist active in the
royal Mughal atelier during the reigns of Jahangir and Shah Jahan (Seyller, 2011,
p.56). The characteristic features of the artist include the arc of the eyebrows, and
granular modeling of the faces, which softens the jaw, mouth and eye-sockets,
giving sense of movement and emotional depth (ibid.). Other giveaway features of
Govardhan’s hand are the color palettes used with the carefully considered and
calculated interpretation of patterns on every decorated feature which is present
in the scene.

The date of this work is determined by the presence of the orange border around
the purple carpet, which are also seen on two other works (dated to ca. 1615-1620)
by the artist before he moved on to more subdued colors. The second
feature is the fantastic animal patterns depicted on the carpet which were the
predominant decorative elements of the fnest border decorations of Mughal
manuscripts from the 1590s.

184
IMAGE OF ENLARGED SIZE
138
AN ENAMELLED AND GEM SET ROSEWATER SPRINKLER
NORTH INDIA OR DECCAN, 1775-1825

Of typical form, set with diamonds, rubies and emeralds, body decorated in
green enamel with some areas of light blue enamel, the base undecorated,
in three parts
11⅜ ins. (28.6 cm.) high

PROVENANCE:
By repute, the Nizams of Hyderabad
Hapsburg Feldman, Geneva, 9 November 1987, lot 23
Dr. Mohammed Said Farsi
Christie’s, London, 5 October 2010, lot 46

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.96, no.66
Grand Palais, Paris 2017, p.192, no.146
The Doge’s Palace, Venice 2017, p.223, no.152
The Palace Museum, Beijing 2018, pp.244-45, no.156
de Young Legion of Honor, San Francisco 2018, p.113, no. 50

LITERATURE:
Jafer 2013, pp.192-93, no.68

Rosewater, sprinkled on honored guests when they arrived, using a bottle (gulab
pash) like the present example, was a tradition in Mughal India and across Islamic
lands. The sprinkling of rosewater had a ceremonial and social signifcance. The
custom was observed in the context of a durbar assembly or a social gathering
as a mark of favor or hospitality. The Emperor Jahangir refers to the sprinkling of
rosewater at the Mughal court in his memoirs, ‘the assembly of gulab-pashi took
place and has become established from amongst customs of former days’ (quoted
in Zebrowski, London, 1997, p.69).

An elaborately gem set bottle such as this would have been made in an imperial
workshop. The green enamel employed for decoration suggests this sprinkler
was produced in North India or the Deccan. The form of the vessel and the
gem setting indicate a late eighteenth or early nineteenth century date. Similar
long-necked bottles were made in gold, silver and fligree. A silver gilded bottle
of comparable form is in the Clive collection at Powis Castle, and appeared in an
inventory of 1770 (Paris 2017, p.193). The large oval panels decorated with gem-set
single fowers can be compared to the decoration on a silver-gilt enamelled huqqa
base, possibly from Lucknow from around 1800, in the Khalili Collection (inv.no.
JLY 1716; Carvalho, 2010, pp.162-163, no. 71).

186
187
139
A DIAMOND SET AND ENAMELLED GOLD COVERED
BOWL AND STAND
HYDERABAD, INDIA, 1790-1810

The cover with a square cabochon foiled ruby fnial, the underside of the This impressive gem set bowl with cover and stand is a rare example of a
cover engraved with radiating lobes fanking a lion rampant in foral meander complete drinking vessel set to have survived from Mughal India. It was probably
border, the interior of the bowl with a stylised leopard engraved under the used for drinking by a royal patron. In his memoirs, the Mughal Emperor Jahangir
enamel, the centre of the stand fnely enamelled with polychrome fowers referred to a crystal cup with a dish and enamelled cover sent to Shah ‘Abbas I
nd birds on gold ground of Iran as a gift in 1617. The French traveller, Jean-Baptiste Tavernier, recorded
seeing Emperor Aurangzeb drinking from a crystal cup with a gold dish and gem
Bowl and cover 5¼ ins. (13.3 cm.) high; 3½ ins. (9 cm.) diam.;
encrusted cover (Beijing 2018, p.248). The underside of the lid is decorated with
stand 8¼ ins. (21 cm.) diam.
an image of a stylized leopard or lion which is a royal motif used throughout
India. It also alludes to the Caliph ‘Ali, known as the ‘Lion of God’, implying that
the set was made for a Shi’a patron (Jafer, 2013, p.193). The translucent green
PROVENANCE: enamelling links this set to a small group of objects in the sale which were made
By repute, the Nizams of Hyderabad in Hyderabad in the Deccan in the late eighteenth or early nineteenth century, see
Habsburg Feldman, Geneva, 9 November 1987, lot 21 also lots 240 and 241.
Dr. Mohammed Said Farsi
There is a comparable red and white enamelled gold covered bowl and tray from
Christie’s, London, 5 October 2010, lot 45
North India, dated circa 1700, in the Al-Sabah Collection in Kuwait (LNS 2191
EXHIBITED AND CATALOGUED: Ja-c; Keene and Kaoukji, 2001, p. 78, no. 6.38). Another comparable example is a
The Miho Museum, Koka 2016, p.97, no. 67 Deccani rock crystal bowl with an enamelled gold cover and tray, dated 1811 and
Grand Palais, Paris 2017, p.197, no.149 inscribed ‘Sarkar Imad ud daula Bahadur’ in the Wallace Collection, London (inv.
The Doge’s Palace, Venice 2017, p.226, no.154 no. 1662, Zebrowski 1997, p.79, pl. 65).
The Palace Museum, Beijing 2018, p.248, no.158
de Young Legion of Honor, San Francisco 2018, p. 179, no. 92

LITERATURE:
Jafer 2013, p.193, no.69

188 IMAGE OF REDUCED SIZE


IMAGE OF ENLARGED SIZE 189
190 SALE TITLE
191
140
AN ENAMELLED AND GEM SET MODEL OF A PARROT
HYDERABAD, DECCAN, CIRCA 1775-1825

Set with diamonds, rubies and emeralds and with a pendant emerald hanging
from its beak, on a stand similarly decorated, base decorated with two central
fowers in green and white enamel and four leaves in each corner
8¾ ins. (22.2 cm.) high

PROVENANCE:
Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.115, no.83
Grand Palais, Paris 2017, p.191, no.145
The Doge’s Palace, Venice 2017, p.221, no.151
The Palace Museum, Beijing 2018, p.243, no.155
de Young Legion of Honor, San Francisco 2018, p. 179, no. 89

Birds were considered a symbol of royalty at the Mughal court and at other
provincial states in India. The Mughal Emperor Jahangir mentions being gifted
a gem encrusted bird and Shah Jahan’s legendary peacock throne is thought to
have had two jeweled peacocks on top of the canopy (Jafer 2013, p.192). This
gem-set and enameled parrot standing on a similarly decorated base is closely
related to another known jewelled parrot (Beijing 2018, p.242, no.154). Both birds
were probably made as a pair and were originally in the collection of the Nizams
of Hyderabad. They were apparently part of a group of birds which were placed
around the throne during durbar ceremonies (Paris 2017, p.190). Other comparable
jeweled birds include the late 18th century huma bird from the canopy of Tipu
Sultan’s throne, now in the Royal Collection, United Kingdom (RCIN 48482) and a
large 17th century Mughal falcon in the Museum of Islamic Art, Doha
(JE.69.2001; Tan, 2002, pp.8-15).

192
141
A DIAMOND, RUBY AND GOLD BAZUBAND

The armband set with rose-cut diamonds, single-cut rubies, thread, gold,
13½ ins., early to mid 20th century

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 262, no. 195
The Doge’s Palace, Venice 2017, p. 275, no. 189
The Palace Museum, Beijing 2018, p. 293, no. 193

LITERATURE:
Jafer 2013, pp. 276-77, no. 107

This bazuband is inscribed at the reverse with both Hindi and Roman numerals
suggesting that the armband was the result of a collaboration between a
European and an Indian jeweler.

194
196
BA Z U BA N DS

Inherited by the Mughals from their ancestors,


the Timurids, the traditional form of a bazuband was to be
worn on the upper arm. They were usually composed of a large
stone of the highest quality, chosen to ward of certain malefc
efects and sometimes engraved for additional ‘power’, strung
on silk cords and directly applied against the skin to guard the
wearer from his enemies in battle. They became more ornate
throughout the centuries, becoming symbols of aristocracy
and masculinity, and ultimately being an important accessory
to the rulers. They were even more signifcant during the
provincial rule, when all the Maharajas and Nawabs wore them
to identify their role.

197
142
AN ANTIQUE EMERALD BEAD AND PEARL BAZUBAND

The armband set with tumbled emerald beads of 267.57 carats total, pearls,
7 ins. (adjustable), late 18th century, restrung at a later date
AGL, 2019, report no. 1100316: Colombia,
minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 53, no. 35
The Doge’s Palace, Venice 2017, p. 68, no. 27
The Palace Museum, Beijing 2018, p. 80, no. 28

198
199
143
A PAIR OF DIAMOND, RUBY, PEARL AND GLASS TURBAN ORNAMENTS

Old and rose-diamonds, circular-cut and cabochon rubies, pearl drops, green enamel, gold,
each 2¼ ins., early to mid-20th century

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 132, no. 98
Grand Palais, Paris 2017, p. 280, no. 209
The Doge’s Palace, Venice 2017, p. 294, no. 203
The Palace Museum, Beijing 2018, p. 310, no. 207

200
144
AN ENAMELLED AND
DIAMOND-SET ANKUS
NORTH INDIA, 19TH CENTURY

Steel tip with gold mounts, the entire surface


set with diamonds in gold on blue, green and
red enamelled ground, the blunt end of the hook
modelled as an elephant head with agate eyes,
the end of the stick is missing an ornament
exposing a screw
21⅛ ins. (53.8 cm.) long

IMAGE OF REDUCED SIZE 201


145
PRINCE SALIM RIDING AN ESCAPED ELEPHANT
MUGHAL INDIA, PROBABLY ALLAHABAD, CIRCA 1600-1605

Opaque pigments and gold on paper, backed on cream card


Painting 7½ x 5⅛ ins. (19.1 x 13.2 cm.); folio 11⅝ x 9¼ ins. (29.5 x 23.6 cm.)

PROVENANCE:
The Khosrovani-Diba Collection; sold, Sotheby’s, London,
19 October 2016, lot 3

EXHIBITED AND CATALOGUED:


The Palace Museum, Beijing 2018, pp.442-43, no.171

The elephant here seems to have escaped its tether, which drags behind it across
the grassy hillside. The implied wild careering of the elephant serves to heighten
the imagined bravery of the rider.

202
IMAGE OF ENLARGED SIZE
2 SALE TITLE
3
146
THE PROCESSION OF THE EMPEROR
AKBAR SHAH II THROUGH DELHI
DELHI, INDIA, CIRCA 1825

Opaque pigments and gold on paper, the various participants in the


procession identifed below in nasta'liq in ink with English pencil translations,
plain cream back, constructed from three sheets of paper
75 x 6⅜ ins. (190.5 x 16.3 cm.)

EXHIBITED AND CATALOGUED:


Château de Fontainebleau, 2018, p. 152, cat. 35
IMAGES OF REDUCED SIZE
147
'THE PINK GOLCONDA DIAMOND'
A COLORED DIAMOND AND DIAMOND RING, JAR

Oval brilliant-cut light pink diamond of 10.46 carats, single-cut diamonds, Little is recorded of the very early days of diamond mining in India.
blackened gold, ring size 4½, signed JAR, Paris, pink JAR case The older history is told by the earth itself as geologists have unraveled
the scientifc mysteries regarding the origin of the deposits. The more
GIA, 2019, report no. 2115073049: 10.46 carats, Light Pink, natural color,
recent history of the area is found in the writings of Jean Baptist
VVS1 clarity, potentially Internally Flawless, Type IIa
Tavernier. Tavernier journeyed to Persia and India six times between 1630
Gübelin, 2009, report no. 0909069: 10.46 carats, Light Orangy-Pink, and 1668, and chronicled in great detail his visits to the Indian diamond
natural color, Internally Flawless, Type IIa, appendix and 'Golconda' letter mines. According to Tavernier, diamond mining in the Golconda district
grew at an explosive rate in the mid seventeenth-century. At the Kollur
mine alone, the most prestigious among the local mines, 60,000 diggers
and washers were employed where the vast majority of diamonds found
PROVENANCE:
were from alluvial deposits. Alluvial deposits are secondary deposits
Sotheby's, New York, 9 December 2010, lot 467 (colored diamond)
formed by the breakdown of older rocks by natural forces. Nature tends to
EXHIBITED AND CATALOGUED: gather heavier particles and pebbles, including diamonds, into river beds
Victoria and Albert Museum, London 2015, p. 48, no. 9 where very little remains of the “parent” rocks that originally contained
The Miho Museum, Koka 2016, p. 176, no. 138 the diamonds. These rocks, called kimberlites, formed one hundred
Grand Palais, Paris 2017, p. 38, no. 9 miles below the earth’s crust and were pushed up to the surface by
violent volcanic action. In time, the kimberlites disintegrated, leaving
The Doge’s Palace, Venice 2017, p. 50, no. 4
behind the hard and durable diamond crystals which were originally
The Palace Museum, Beijing 2018, p. 58, no. 5
imbedded in them.
de Young Legion of Honor, San Francisco 2018, p. 170, no. 5

LITERATURE: For about two thousand years, India remained the world’s only source
Jafer 2013, p. 381, no. 127 of diamonds. The second earliest known source is Borneo during the
tenth century. When the Indian deposits came close to depletion, alluvial
First discovered in 400 BC, Golconda represents the ancient diamond felds of sources were discovered in Brazil in 1725. A century and a half later, when
India, the world’s earliest and richest diamond mines. A broad area extending the Brazilian mines were largely exhausted, alluvial deposits were found
nearly one thousand miles in the north-south direction along the eastern half of in the Ural Mountains of Russia and in 1866, the signifcant diamond
the nation, this diamond belt comprised fve distinct districts, each separated by fnds of South Africa were discovered. Diamonds in Australia were frst
high terrain. Each district had its own name. Of these, the most famous is the recorded in 1851 but it was not until 1979 that the important Argyle pipe
one called Golconda. Comprising the Kistna and Godaviri valleys, the Golconda was discovered. More recently, Canada and the Yakutsk region of Russia
district centered around the trading capital. Indeed, Golconda yielded the world’s have become forerunners in diamond mining. Today, diamond production
most beautiful and illustrious diamonds including the Koh-i-noor, now part of the in India is a fraction of what it was during the seventeenth-century and
British Crown Jewels, mounted in the late Queen Mother’s crown, in The Royal is completely overshadowed by mining in Africa, Australia, and Russia.
Collection at the Tower of London; the Regent, considered the fnest diamond in However, it is the Golconda diamond with its incomparable quality,
the French Crown Jewels, at the Musée du Louvre in Paris; and the Hope, gifted mystery and romance, sought by royal houses all over the world, which
by Harry Winston to the Smithsonian Institution in Washington D.C. still reigns supreme among gem connoisseurs.

(actual size)

206
207
148
A DIAMOND, CACHOLONG, SAPPHIRE AND TITANIUM BROOCH, JAR

Designed as an elephant wearing an aigrette, titanium, modifed pear brilliant-


cut diamond of 2.32 carats, single-cut diamonds, oval cabochon sapphires,
tusk-shaped white cacholong, blackened gold and platinum (French marks),
6⅝ ins., 2013, signed JAR, Paris, pink JAR case

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2013, no. 25
Grand Palais, Paris 2017, p. 372, no. 275
The Doge’s Palace, Venice 2017, p. 380, no. 267
The Palace Museum, Beijing 2018, p. 382, no. 267
de Young Legion of Honor, San Francisco 2018, pp. 166-67, no. 93

The distinguished Parisian jeweler JAR has incorporated historic Golconda


diamonds into his unmatched creations (as seen, Lot 147), as well as highlighted
Indian motifs in his designs. This incredible titanium elephant brooch is adorned
with a Belle Époque style diamond aigrette, relating to the Indian tradition of
dressing royal animals with jewelry.

208
149
A BELLE ÉPOQUE DIAMOND JIGHA

The turban ornament set with old, baguette and pear-shaped diamonds,
white gold, ftted with plume holder on the reverse, lower portion detachable
and may be worn as a brooch, 5¾ ins., 1907 and remodeled circa 1935

PROVENANCE:
Property of a Royal House
Christie's, Geneva, 17 November 2010, lot 292

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp. 92-93
Victoria and Albert Museum, London 2015, pp. 130-31, no. 76
The Miho Museum, Koka 2016, pp. 36-37, no. 13
Grand Palais, Paris 2017, p. 287, no. 215
The Doge’s Palace, Venice 2017, p. 300, no. 208
The Palace Museum, Beijing 2018, p. 316, no. 212
de Young Legion of Honor, San Francisco 2018, p. 147, no. 77

LITERATURE:
Jafer 2013, pp. 258, 260-61, ill. p. 275, no. 103
Hue-Williams and Sancroft-Baker 2016, p. 36

Maharaja Ranjitsinhl Vibhaki, Jam Sahib of Nawanagar wearing a


near identical version of Lot 149.

Popperfoto/Popperfoto/Getty Images

210
S E S SION I I
LOTS 150-388
2.30 PM

213
150
A GEM SET JADE-HILTED
DAGGER (KHANJAR)
NORTH INDIA, 1700-1750

Set with rubies and emeralds, watered-steel blade,


green cotton covered sheath
15¼ ins. (38.6 cm.) long

PROVENANCE:
Christie’s, London, 5 October 2010, lot 357

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.113, no.85
The Doge’s Palace, Venice 2017, p.141, no.89
The Palace Museum, Beijing 2018, p.165, no.93
de Young Legion of Honor, San Francisco 2018, p.
84, no. 28

214 IMAGES OF REDUCED SIZE


151
A GEM SET JADE HORSE HEAD DAGGER
MUGHAL INDIA, 18TH CENTURY

The jade hilt decorated with foral designs in


low relief, set with an emerald and rubies in gold,
watered steel blade, a few missing gems
13½ ins. (34.3 cm.) long

IMAGES OF REDUCED SIZE 215


152
A LION-HEADED JADE-HILTED DAGGER
(KHANJAR) WITH SCABBARD
NORTH INDIA OR DECCAN, CIRCA 1750

Watered steel blade, in red velvet covered sheath


with gold locket and chape
17⅞ ins. (45.5 cm.) long; 2⅜ ins. (6.1 cm.) wide;
scabbard 14 in. (35.5 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.116, no.88
The Doge’s Palace, Venice 2017, p.142, no.90
The Palace Museum, Beijing 2018, p166, no.94
de Young Legion of Honor, San Francisco 2018,
p. 88, no. 30

216 IMAGES OF REDUCED SIZE


153
A HORSE-HEADED GEM SET JADE-HILTED
DAGGER (KHANJAR) WITH SCABBARD
SIGNED SHIR AHMAD, HILT: NORTH INDIA,
1675-1725; BLADE: CIRCA 1750-1800

The hilt set in the frst half of the 19th century


with rubies and pearls, watered-steel blade with
running ball bearings, known as the 'Tears of Allah',
signed on the spine
16⅝ ins. (42.8 cm.) long; 2⅜ ins. (6.2 cm.) wide;
scabbard 13⅜ ins. (34.1 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.112, no.84
The Doge’s Palace, Venice 2017, p.140, no.88
The Palace Museum, Beijing 2018, p164, no.92

LITERATURE:
Ricketts 1973, no.51

INSCRIBED:
In Persian ‘Made by Shir Ahmad, Rao Bahadur
Thakur Durjan Singh’

IMAGES OF REDUCED SIZE 217


154
A GEM SET GLASS-HILTED
DAGGER (KHANJAR)
INDIA, CIRCA 1900

Set with diamonds and rubies, locket and chape


loose and similarly decorated, watered-steel blade
10⅝ ins. (36.8 cm.) long; 2½ ins. (6.2 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.124, no.95
The Doge’s Palace, Venice 2017, p.153, no.99
The Palace Museum, Beijing 2018, p.179, no.105

218 IMAGE OF REDUCED SIZE


155
A RARE GEM SET JADE-HILTED DAGGER
WITH SCABBARD
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 pavé 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 jeweled en suite with the hilt,
one stone missing
14 ins. (35.7 cm.) long

PROVENANCE:
Dr. Herbert Kayden and Dr. Gabrielle Reem Collection;
sold Christie's, London, 25 May 2017, lot 107

Due to the fragility of the material, jade daggers with


knuckle guards are rare and few survive intact to this day.
Michael Spink and Robert Skelton have distinguished
two separate groups of jade daggers with knuckle guards.
The frst one is “quite distinct and earlier in date. These
have a bifurcated palmette at the top of the hilt and a
rounded moulding in the centre of the grip and can be
dated to the Deccan during the 17th century". The second
type "has vase-shaped grips, knuckle bows and triple
fower buds” (Jafer, 2013, pp.186-187). Our example is
a fne variation of the second group. The vase-shaped
grip, knuckle bow and pommel are all features common
to the second category, although the shape of the upper
section of our hilt is quite unusual. The shape of the hilt is
very similar to an example now in the al-Sabah collection
(279 INV. LNS 728 HS ab; Curatola et al., 2010, p.299).
Both pieces are dated to the second half of the 17th
century and are decorated with foral motifs inlaid with
gold and set with rubies, emeralds and diamonds. The
main technical diference between these two daggers
is the way the stones are inlaid. While the dagger in the
al-Sabah collection presents each stone separately set in
the kundan technique, in our case a number of the stones
are set directly next to others without the gold borders. A
similar technique is found only on a few contemporaneous
jade pieces, most of extremely high quality. A pen
box now in the Victoria and Albert Museum (Inv.No
02549(IS)) has a foral arrangement very similar to the
one on our dagger, with rubies and emeralds composing
a foral scroll and some of the gems continuously set.
The Victoria and Albert Museum box is dated to the
17th century and a similar date thus seems likely for our
dagger. A notable feature of our dagger is that it retains
its original sheath, with painted lacquer decoration and
original gem set jade locket. The pattern on the lacquer
of the sheath clearly recalls the foral decoration on the
handle. Sheaths contemporaneous to their arms are quite
rare - they are often replaced by velvet ones. Very few
examples of original lacquer sheaths survive. One other
example is now in the Al-Sabah collection
(LNS 1004 M; Stronge, 2010, p.221, pl.183).

IMAGES OF REDUCED SIZE 219


156
AN ANTIQUE EMERALD, DIAMOND,
PEARL AND ENAMEL TIKKA

The forehead ornament set with rectangular,


oval and pear-shaped table-cut diamonds, table-
cut emeralds, emerald bead, pearls, red, white,
green and blue enamel on the reverse depicting
a peacock, gold on a lac core, pendant 3¼ ins.,
strings 11¾ ins., mid-19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp. 74-75
Victoria and Albert Museum, London 2015,
p. 106, no. 57
The Miho Museum, Koka 2016, p. 152, no. 116
Grand Palais, Paris 2017, p. 240, no. 178
The Doge’s Palace, Venice 2017, p. 257, no. 175
The Palace Museum, Beijing 2018, p. 275, no. 175

LITERATURE:
(reverse)
Jafer 2013, p. 170, ill. pp. 196-97, no. 81

220
157
AN ANTIQUE DIAMOND, EMERALD AND ENAMEL CRESCENT PENDANT

Circular, pear and triangular-shaped faceted diamonds, circular cabochon emeralds,


red and green enamel, gold on a lac core, 3¾ ins., 18th century

221
158
A SUITE OF ANTIQUE PEARL, DIAMOND AND EMERALD JEWELRY

Comprising a four-strand necklace, four-strand bracelet, a pair of pendants


and a pendant, pearls, variously-shaped table-cut diamonds, variously-shaped
cabochon emeralds, rectangular-cut emerald, green, red and white enamel,
foil, gold, necklace shortest strand 22 ins., bracelet 6¾ ins., pair of pendants
each 1⅜, pendant 2½ ins., 19th century

222
159
A PAIR OF ANTIQUE RUBY, DIAMOND AND MULTI-GEM CHILD'S KADAS

Each bangle designed with opposing elephant head terminals, faceted rubies, diamonds and
variously colored gemstones, gold, each diameter 1⅜ ins., late 18th century to early 19th century,
some stones defcient

224
160
A PAIR OF ANTIQUE ENAMEL, DIAMOND AND RUBY KADAS

Each bangle designed as opposing makara head terminals, variously-shaped faceted and table-cut
diamonds, cabochon rubies, green, blue, red, white and yellow enamel, foil, gold on a lac core, mid to late
19th century, each diameter 2¼ ins.

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 98, no. 49
The Miho Museum, Koka 2016, p. 108, no. 76
Grand Palais, Paris 2017, p. 246, no. 183
The Doge’s Palace, Venice 2017, p. 260, no. 179
The Palace Museum, Beijing 2018, p. 280, no. 183
de Young Legion of Honor, San Francisco 2018, p. 180, no. 109

LITERATURE:
Jafer 2013, p. 180, ill. p. 197, no. 84

225
161
A PAIR OF ANTIQUE DIAMOND, RUBY AND ENAMEL KADAS

Each bangle designed with opposing makara head terminals, pear and mixed-shaped table-cut diamonds,
table-cut rubies, blue, green, red and white enamel, foil, gold on a lac core, each 2½ ins., late 19th century

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 98, no. 50
The Miho Museum, Koka 2016, p. 109, no. 77
Grand Palais, Paris 2017, p. 246, no. 182
The Doge’s Palace, Venice 2017, p. 260, no. 178
The Palace Museum, Beijing 2018, p. 279, no. 182
de Young Legion of Honor, San Francisco 2018, p. 181, no. 110

LITERATURE:
Jafer 2013, p. 180, ill. p. 197, no. 83

226
162
AN ANTIQUE DIAMOND, RUBY AND ENAMEL KADA

The bangle designed as two opposing tiger head, variously-shaped table-cut diamonds, rectangular
and variously shaped cabochon rubies, green, red and white enamel, gold on a lac core, diameter 2⅝ ins.,
mid-19th century

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 247, no. 184
The Doge’s Palace, Venice 2017, p. 261, no. 180
The Palace Museum, Beijing 2018, p. 281, no. 184

The terminals are very likely tigers’ heads. Tigers were hunted in India by royalty and using the tiger’s image
was a statement of power. The most famous Indian ruler who used the tiger image intentionally to express his
royal status was Tipu Sultan, the ‘Tiger of Mysore’, a very powerful ruler whose kingdom posed an enormous
threat to British military power in India.

227
163
A PAIR OF DIAMOND, EMERALD AND ENAMEL EARRINGS

Of rosette design, pear and mixed-shaped table-cut diamonds, table-cut emeralds, green,
red and white enamel on the reverse, foil, gold on a lac core, 1⅝ ins., original pendants 18th century

LITERATURE:
Jafer 2013, pp. 104-05, no. 36

Originally made in the 18th century in Northern India or Deccan, pendants like Lot 163 were traditionally
suspended from pearl necklaces. These examples have since been converted into earrings with 18k gold clip
backs and pendant bails on the reverse.

228
164
A PAIR OF ANTIQUE DIAMOND AND MULTI-GEM CHILD'S BAZUBANDS

The pair of armbands of forette design, rectangular and cushion-shaped table-cut spinels and foil-backed
colorless gemstones, pear-shaped table-cut diamonds, cabochon emeralds, green, red,
white and blue enamel on the reverse, gold on a lac core, each 2¾ ins., mid to late 19th century

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 150, no. 114

LITERATURE:
Jafer 2013, p. 197, no. 82

229
165
AN ANTIQUE JADE, RUBY, EMERALD AND PEARL NECKLACE

Jade plaques, cabochon rubies, ruby beads, cabochon emeralds, pearls,


gold, longest length 24 ins. (adjustable), 17th century (plaques),
restrung at a later date

230
231
232
C A RT I E R A N D I N DI A

As curiosity with Indian culture became Mysore, and all were fascinated by the Parisian styles which he
prevalent in Europe in the early 20th century, Jacques Cartier showed them. Many entrusted their jewels, both Crown Jewels
and his ofices began to import gemstones and jewelry directly and personal treasures to Cartier to re-design. The Maharaja
from India in order to execute commissions received from of Patiala commissioned Cartier to re-set his Crown Jewels
international clients and Indian maharajas. This included between 1925 and 1928, one of the largest single commissions
resetting the stones entirely as well as incorporating elements, in the frm’s history.
like a child's bazuband, into new designs, as seen with Lot 166.
The close bond between Cartier and India can be seen most
Pierre Cartier’s frst impression of the jewels of India must have clearly in the Art Deco period and resulted in two types of
been formed when he was commissioned, in 1901, to alter the jewels: the Indian gems re-designed in the Cartier western style
Indian jewelry owned by Queen Alexandra. She required him to for the Maharajas, and the ‘India-inspired’ jewels presented
reconstruct the pieces, primarily male jewelry, so that she could to the Western clientele. During the 1920s and 1930s, Europe
wear the jewels paired with gowns sent to her by Lady Curzon, was crazed over the Far East and the Orient; The Indian Turrah
wife of the then Viceroy of India. was the inspiration for some shoulder tassel brooches, the
opposite: Jacques Cartier with sarpech with paisley motif was the base for many a jeweled
Indian gemstone dealers. Photo
Pierre’s brother, Jacques Cartier, frst visited India in 1911 at delight, echoes of Indian miniature borders and Persian friezes
from Jacques Cartier’s album
recording his voyage to India the time of the celebration of the Coronation of George V and could be found in some diamond bracelets, enameled plaques
in 1911 Queen Mary of Teck at the Delhi Durbar. Jacques used his visit were imported from Jaipur to cover cigarette cases, and carved
Cartier Archives © Cartier to cultivate contacts with the Maharajas, from Kapurthala to gemstones were all the rage, doing much to popularize the
‘Indian style’.

233
166
AN ART DECO JADE, RUBY, EMERALD AND DIAMOND BROOCH,
MOUNTED BY CARTIER

Of lion motif, jade plaque, cabochon rubies and emeralds, table-cut diamonds,
18k gold (French marks), 2¼ ins., circa 1930, original bazuband mid-17th to
mid-18th century, mounting signed Cartier, Paris, no. 003

PROVENANCE:
Lord Glenconner (1926-2010)
Sotheby's, London, 14 April 2010, 189
Sheikh Saoud bin Mohamed bin Ali Al Thani

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 102
Grand Palais, Paris 2017, p. 328, no. 241
The Doge’s Palace, Venice 2017, p. 314, no. 215
The Palace Museum, Beijing 2018, p. 328, no. 219
de Young Legion of Honor, San Francisco 2018, p. 183, no. 136

LITERATURE:
Jafer 2013, p. 321, no. 113

(actual size)

234
235
167
AN ART DECO DIAMOND 'CLIQUET' BROOCH, CARTIER

Heart modifed brilliant-cut diamond of 7.56 carats, marquise and old-cut diamonds, platinum (French
marks), 2¼ ins., circa 1925, signed Cartier, 'Made in France', maker's mark, red Cartier case
GIA, 2013, report no. 15768175: 7.56 carats, H color, Internally Flawless clarity

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 196, no. 156
Grand Palais, Paris 2017, p. 298, no. 221
The Doge’s Palace, Venice 2017, p. 324, no. 224
The Palace Museum, Beijing 2018, p. 337, no. 228

Fibula brooches originated in the Roman period and were used to secure garments like cloaks, worn on the
right shoulder. They are designed as a pin but have been developed in several forms and have been used ever
since. Particularly in vogue in India, used to secure turbans, they were also a staple of Art Deco creations in
Europe, as exemplifed by lots 167 and 168. Recently, contemporary jewelry masters such as JAR and Bhagat
have experimented by reinventing fbula brooch creations.

236
168
AN ART DECO DIAMOND AND NATURAL PEARL 'CLIQUET' BROOCH, CARTIER

Drop-shaped cream-colored natural pearl of 9.75-10.20 x 17.55 mm, two oval drop-shaped brownish gray
natural pearls of 7.78-7.97 x 9.16 and 7.35-7.37 x 8.55 mm, old-cut diamonds, platinum (French marks),
4½ ins., 1922, unsigned, workshop mark (Atelier Renault), red Cartier case
Cartier, 2006: Certifcate of Authenticity
SSEF, 2006, report no. 47780: Drop-shaped, cream color, natural pearl, saltwater
SSEF, 2006, report no. 47779: Two drop-shaped, brownish gray color, natural pearls,
no indications of artifcial color modifcation

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 194, no. 154
Grand Palais, Paris 2017, p. 299, no. 222
The Doge’s Palace, Venice 2017, p. 324, no. 223
The Palace Museum, Beijing 2018, p. 336, no. 227

237
169
AN ART DECO MULTI-GEM AND DIAMOND
CLIP BROOCH, CARTIER

Designed as a maharaja, agate, bloodstone,


carnelian, circular cabochon turquoise, circular,
single and rose-cut diamonds, single-cut rubies
and green gemstones, 18k gold and platinum
(French marks), silver, 2⅞ ins., 1937, signed Cartier,
Paris, no. -079 (partially indistinct)

PROVENANCE:
Daisy Fellowes (1890-1962)
Design for a Maharaja brooch. Cartier Paris, 1937. Executed for Daisy Fellowes in Christie’s, New York, 20 October 2015, lot 245
gold, hard stones, turquoises and diamonds. Graphite and gouache on card. 5,3 x
7,9 cm. Inv. AT37/392 LITERATURE:

Archives Cartier Paris © Cartier


Nadelhofer 1984, no. 74

238
170
A COLORED DIAMOND

Old mine brilliant-cut light pink diamond of 7.56 carats


GIA, 2017, report no. 2181648399: 7.56 carats, Light
Pink, natural color, VS1 clarity, Type IIa (actual size)

239
171
A CARVED EMERALD AND GOLD RING

Carved emerald ring, gold, ring size 5¼, 16-17th century (emerald),
gold hoop of later addition

PROVENANCE:
Lyn Revson
Christie's, New York, 23-24 October 1996, lot 200
Lily Safra
Christie's, Geneva, 14 May 2012, lot 34

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 33, no. 10
Grand Palais, Paris 2017, p. 50, no. 30
The Doge’s Palace, Venice 2017, p. 58, no. 11
The Palace Museum, Beijing 2018, p. 70, no. 12
de Young Legion of Honor, San Francisco 2018, p. 171, no. 9

(actual size)

240
241
172
AN EMERALD

Octagonal modifed buf-top step-cut emerald of


44.41 carats, 29.62 x 23.28 x 8.82 mm,
mid-18th to mid-19th century
AGL, 2019, report no. 1100344: 44.41 carats, Colombia,
minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 169, no. 131
(actual size) Grand Palais, Paris 2017, p. 46, no. 25
The Doge’s Palace, Venice 2017, p. 66, no. 24
The Palace Museum, Beijing 2018, p. 79, no. 25

242
173
AN EMERALD

Round modifed mixed-cut emerald of 105.12 carats,


37.55-36.85 x 10.80 mm, mid-18th to mid-19th century
AGL, 2019, report no. 1100328: 105.12 carats,
Colombia, minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 46, no. 26
The Doge’s Palace, Venice 2017, p. 67, no. 26
The Palace Museum, Beijing 2018, p. 79, no. 27 (actual size)

243
174
AN ANTIQUE EMERALD, DIAMOND AND PEARL NECKLACE

Octagonal, cushion, hexagonal and rectangular-shaped emeralds, table and


rose-cut diamonds, seed pearls, foil, gold and silver, restrung at a later date,
shortest length 31 ins. (adjustable), mid to late 19th century
AGL, 2019, report no. 1100320: Colombia, insignifcant to minor clarity
enhancement, traditional type

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp. 88-89
Victoria and Albert Museum, London 2015, pp. 108-9, no. 59
The Miho Museum, Koka 2016, p. 136, no. 102
Grand Palais, Paris 2017, p. 255, no. 188
The Doge’s Palace, Venice 2017, p. 268, no. 184
The Palace Museum, Beijing 2018, pp. 288-89, no. 188
de Young Legion of Honor, San Francisco 2018, p. 129, no. 62

LITERATURE:
Jafer 2013, p. 209, ill. p. 271, no. 88

This necklace features foil-backed emeralds and diamonds. The foil enhances
the brilliance of the stones, despite their closed mounts. The arrangement of
the gems and the lack of engraving or enamel on the reverse reveals Western
infuence, however, the adjustable cord is a quintessential feature of traditional
Indian jewelry.

244
175
A GEM SET JADE-HILTED DAGGER (KHANJAR) WITH SCABBARD
NORTH INDIA OR DECCAN, 1700-1725

Set with rubies and emeralds, pierced watered-steel blade ftted with three
channels containing free running seed pearls, the velvet-covered wooden
scabbard with enamelled gold locket and chape
14 ins. (35.5 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.114, no.90
The Doge’s Palace, Venice 2017, p.144, no.92
The Palace Museum, Beijing 2018, p.168, no.96
de Young Legion of Honor, San Francisco 2018, p. 89, no. 31

LITERATURE:
Hales 2013, p.31

This exquisite dagger with its carved scale decoration jade hilt inlaid with
rubies has a strong sculpted efect. The hilt is further inlaid with foliage, lotus
fowers and poppies set with emeralds and rubies. The rich enamelled sheath
fttings have later restorations with foliage on one side and chevron patterns
on the other. The free running seeds within the blade are related to Iranian and
Ottoman examples dating to sixteenth and seventeenth century, usually referred
to as 'the tears of Allah' or 'the tears of the wounded' (Hales, 2013, p.31.)

246
IMAGES OF REDUCED SIZE
176
A GEM SET JADE-HILTED DAGGER WITH SCABBARD
NORTH INDIA OR DECCAN, 1700-1750; SCABBARD INDIA OR IRAN,
CIRCA 1650

Set with rubies and emeralds, watered-steel blade


13⅝ ins. (34.8 cm.) long; scabbard 9⅜ ins. (23.8 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.122, no,93
The Doge’s Palace, Venice 2017, p.146, no.94
The Palace Museum, Beijing 2018, p.170, no.98

248
IMAGES OF REDUCED SIZE
177
A SWORD
INDIA, 18TH CENTURY

Watered steel blade with gold royal parasol mark,


the spine inscribed with a Qur'anic verse in gold,
gold damascened hilt with cushioning, the velvet-
covered wooden scabbard with silver chape
40⅞ ins. (103.8 cm.) long

250 IMAGES OF REDUCED SIZE


178
A PUSH DAGGER (KATAR)
MUGHAL INDIA, 19TH CENTURY

The hilt with gold damascened and open work


deigns, the ricasso similarly decorated with a foral
deisgn, the water steel blade in scalloped design,
original yellow velvet sheath
18 ins. (45.7 cm.) long

IMAGES OF REDUCED SIZE 251


179
A GEM SET JADE HILTED DAGGER
(KHANJAR) WITH MATCHING LOCKET
DECCAN, CENTRAL INDIA, 1675-1725

Set with rubies and emeralds, watered-steel blade


15½ ins. (39.5 cm.) long; locket 1⅝ ins. (4.1 cm.)
long; 2 ins. (5.1 cm.) wide

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p.91,
no.42
Grand Palais, Paris 2017, p.127, no.98
The Doge’s Palace, Venice 2017, p.150, no.97
The Palace Museum, Beijing 2018, p.174, no.101
de Young Legion of Honor, San Francisco 2018,
p. 176, no. 67

LITERATURE:
Jafer 2013, p.68, no.29

252 IMAGES OF REDUCED SIZE


180
A GEM SET JADE-HILTED
DAGGER (KHANJAR)
POSSIBLY LUCKNOW, INDIA,
CIRCA 1775-1790

Set with serpentine and rubies, rain-guard


decorated in gold-damascened arabesques,
watered-steel blade
15⅜ ins. (39.2 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.126, no.97
The Doge’s Palace, Venice 2017, p.155, no.101
The Palace Museum, Beijing 2018, pp.176-77,
no.103
de Young Legion of Honor, San Francisco 2018,
p. 93, no. 35

IMAGE OF REDUCED SIZE 253


181
THE EMPEROR AKBAR HOLDING A JEWEL
MUGHAL INDIA, 18TH CENTURY

Opaque pigments and gold on paper, inscribed ‘Akbar’ below, nasta’liq


couplets bordered by illuminated panels above and below, black album leaf
painted with gold birds, fowers and trees, signed on the bottom left hand
corner ... banaya musavir davari ... lapur, backed on cream card
Painting 5¼ x 3⅝ ins. (13.2 x 9.3 cm.); folio 12¾ x 8¾ ins. (32.3 x 22.2 cm.)

PROVENANCE:
Anon. sale, Sotheby’s, London, 25 April 2012, lot 482

254 OPPOSITE IMAGE OF ENLARGED SIZE


255
182
THE EMPEROR JAHANGIR WITH ASAF KHAN
MUGHAL INDIA, CIRCA 1700; BORDERS FROM THE LATE SHAH
JAHAN ALBUM, CIRCA 1650-1658

Opaque pigments with gold on paper, lines of nasta’liq calligraphy from a


qasidah in illuminated borders above and below, fnely illuminated album leaf,
backed on cream card
Painting 7⅞ x 6⅝ ins. (20.1 x 16.9 cm.); folio 14⅜ x 9¾ ins. (36.4 x 24.9 cm.)

PROVENANCE:
Maurice and Edmund de Rothschild Collection, Paris
P & D Colnaghi & Co Ltd, London, 1976
The Khosrovani-Diba Collection, sold Sotheby’s, London,
19 October 2016, lot 9

LITERATURE:
Stchoukine 1929, pp.212-241. no.VII
Falk 1976, p.198, no.132

This fne drawing with its unusual plain pink background depicts Jahangir
conversing with nobleman Asaf Khan, one of the most trusted and senior
courtiers under Jahangir and Shah Jahan. His high status within the royal courts
is refected by the number of portraits composed of him. Asaf Khan fgures
numerous times in the Windsor Padshahnama. Two examples there, whose
depiction of Asaf Khan is similar to this drawing, are "The wedding procession of
Prince Dara Shikoh" (f.123A) and "The arrival of Prince Aurangzeb at the court at
Lahore" (f.217B) (Beach, Koch and Thackston 1997, no.23, p.65, no.44, p.107). For
another portrait of Asaf Khan, see lot 338 in the present sale.

The distinctive borders of this drawing come from the renowned ‘Late Shah Jahan
Album.’ For another drawing mounted with borders from this album, see lot 256
in this sale.

256 OPPOSITE IMAGE OF ENLARGED SIZE


257
183
A FOLIO FROM THE DE LUYNES ALBUM
MUGHAL INDIA, MID-17TH CENTURY AND CIRCA 1590

Recto ink on paper depicting Shah Jahan as king of the world, verso opaque
pigments with gold on paper depicting an escape from a palace probably from
a copy of a Harivamsa, within colored borders on cream album leaf
Recto drawing 12¼ x 8¼ ins. (31 x 21 cm.); verso painting 9⅞ x 5½ ins.
(25 x 14 cm.); folio 18¼ x 12⅜ ins. (46.5 x 31.5 cm.)

PROVENANCE:
Christie’s, London, 4 October 2012, lot 165

LITERATURE:
The Palace Museum, Beijing 2018, fg.1, p.97
Château de Fontainebleau, 2018, p. 140, cat. 30

This portrait of Shah Jahan follows an almost identical depiction inscribed to


Hashim dated to the mid-17th Century and in the collection of the Freer Gallery of
Art, (inv. 1939.49; Beach, 1981, cat. no.18d). It has been suggested that the quality
of the draughtsmanship of our drawing, particularly noticeable in the delicate
facial features of Shah Jahan and in the expressive surprisingly strong faces of the
putti, are an indication that this is by Hashim, a preparatory or companion work for
the Freer Gallery painting. A further depiction of Shah Jahan standing on a globe
from the Minto Album is almost identical to both our work and the Freer Gallery
painting, (Leach, 1995, vol.I, no. 3.26, p. 401).

The depiction on the verso side of this album folio is an illustration most
probably from a copy of the Harivamsa which recounts the life of Krishna. The
very distinctive crown worn by the fgure on the balcony with its three pointed
pinnacles each with two rounded bosses is very similar to crowns depicted in the
Harivamsa in the Victoria and Albert Museum dated to circa 1590, (Inv. IS4-1970;
Stronge, 2002, pl.63, p. 97).

258 OPPOSITE IMAGE OF REDUCED SIZE


184
SUFIS AND MUSICIANS IN A LANDSCAPE
MUGHAL INDIA, 18TH CENTURY,
CALLIGRAPHY SIGNED ALMAS

Opaque pigments on paper heightened in gold, in


gold speckled margins, verso with Arabic calligraphy,
signed, in cream margins
Painting, 10 x 6⅜ ins. (25 x 16.2 cm.); folio 21⅛ x 15 ins.
(53.5 x 38 cm.); calligraphic panel 6¼ x 5⅞ ins.
(16 x 14.8 cm.)

(verso)

260 IMAGES OF REDUCED SIZE


(verso)

185
PORTRAIT OF PRINCE DARA SHIKOH
WITH LATER ATTRIBUTION TO LA’L CHAND, MUGHAL INDIA, LAST
QUARTER 17TH CENTURY, CALLIGRAPHY SIGNED HEDAYAT ALLAH
ZARIN QALAM, DATED AH 1114/1702-03 AD

Recto with a portrait in opaque pigments on paper within illuminated borders, Prince Dara Shikoh (1615-59) was the eldest son of Emperor Shah Jahan and
attribution inscription at the top verso with six lines of Persian poetry written brother of ‘Alamgir. He was defeated and killed by his brother who rose to the
diagonally in nasta'liq on richly illuminated ground, within illuminated borders throne as Emperor Aurangzeb. A number of portraits depicting him in his youth
Painting 8⅛ x 3¾ ins. (21.2 x 9.6 cm.); folio 12¾ x 7⅜ ins. (32.5 x 18.8 cm.) are known, including two full-length portraits from the Dara Shikoh album in
the British Library: the frst attributed to Chitarman, painted circa 1631-32 (Add.
Or.3129, f.19v) and the second attributed to Murar, dated to the same year (f.59v.,
Losty and Roy, 2012, fg.78 and 80, pp.129-131). The present work shows a close
PROVENANCE: likeness to the Murar portrait which depicts the prince aged 16 or 17. Our portrait
Christie's, London, 27 April 2017, lot 64. is attributed to La’l Chand, an artist whose works are found in the Dara Shikoh
album – he is known to have executed a portrait of Dara’s sister, Jahanara. He was
a court artist of Shah Jahan, within whose reign most of his work falls.

Another Mughal calligraphic panel signed Hidayatullah, probably the same as the
present scribe, dated 1691-92, was on the reverse of a Mughal drawing which sold
at Christie’s, London, 23 October 2007, lot 342.

IMAGES OF REDUCED SIZE 261


186
AN EQUESTRIAN PORTRAIT OF AURANGZEB
MUGHAL INDIA, CIRCA 1700

Opaque pigments and gold on paper, backed on cream card


Folio 11⅜ x 8 ins. (28.7 x 20.4 cm.)

PROVENANCE:
Sir John Murray MacGregor,
with Simon Ray, 2016

262 IMAGE OF REDUCED SIZE


187
THE EMPEROR AURANGZEB IN OLD AGE
PAINTING MUGHAL INDIA, CIRCA 1700;
CALLIGRAPHY SIGNED YAQUT BIN
QANKHAN, DATED AH 1140/1728-29 AD

Opaque pigments and gold on paper, on gold-


fecked blue leaf, verso with lines of strong black
naskh in gold-outlined clouds signed by ‘Asyat
Allah bin Radarzadeh Yaqut bin Qankhan and
dated AH 1140 / 1727-28 AD, (panel slightly
trimmed), on gold-fecked pink leaf
Painting 6¾ x 4⅝ ins. (17.2 x 11.8 cm.);
folio 13¾ x 9⅝ ins. (35 x 24.7 cm.)

(verso reduced)

IMAGES OF REDUCED SIZE 263


188
A GEM SET JADE-HILTED DAGGER
(KHANJAR) WITH MATCHING SCABBARD
NORTH INDIA, FIRST HALF 18TH CENTURY

The hilt set with rubies, emeralds, yellow


gemstones and citrines in gold, rain guard carved
and decorated in gold-damascened foral designs
on both sides, steel blade, sheath with gold thread
silk cover and gem set decorated locket matching
the hilt
15 ins. (38 cm.) long

PROVENANCE:
By repute, Maharajas of Indore

264 IMAGE OF REDUCED SIZE


189
A GEM SET JADE-HILTED DAGGER
(KHANJAR) WITH SCABBARD
INDIA, 19TH CENTURY

Jade hilt set with rubies, emeralds, and turquoise,


curved steel blade, bolster and heel decorated in
gold-damascened foral designs, chipped blade
tip, the wooden sheath covered in silver brocade
silk with a tassel
12⅜ ins. (31 cm.) long

PROVENANCE:
By repute, Maharajas of Indore

IMAGES OF REDUCED SIZE 265


190 191

266 IMAGES OF REDUCED SIZE


190
A DEER-HEADED JADE-HILTED DAGGER
INDIA, SECOND HALF 17TH CENTURY

Watered-steel blade
13⅝ ins. (34.7 cm.) long

PROVENANCE:
By repute Spink and Son, London,
Stuart Cary Welch, sold Sotheby’s, London,
6 April 2011, lot 106

191
A JADE-HILTED DAGGER
INDIA, 18TH CENTURY

With gold-damascened rain guard, the pistol-grip


handle carved with foral designs in low relief and
set with a ruby at the tip and on each side
14 ins. (35.5 cm.) long

LITERATURE:
Jafer 2013, p. 123, ill. p. 187, no. 53

192
A JADE-HILTED DAGGER
INDIA, FIRST HALF 18TH CENTURY

The hilt carved from a single piece of jade,


watered-steel blade
17 ins. (43.2 cm.) long

192

IMAGE OF REDUCED SIZE 267


193
A ROCK-CRYSTAL CARVING OF A SHEEP
INDIA, 19TH CENTURY

Carved from a single piece of rock crystal


2¾ ins. (7 cm.) wide

(actual size)

268
194
A SMALL GEM SET ROCK CRYSTAL HAND
INDIA, 18TH/19TH CENTURY

Carved from a single piece of rock crystal,


each fnger and wrist set with rubies
and emeralds in gold
2¼ ins.(5.8 cm.) long

This hand would have originally belonged to a


backscratcher and is now missing its handle.

(actual size)

269
195
A FOUR-LOBED GEM SET JADE PAAN BOX
NORTH INDIA, 1740-1780

Set with rubies, emeralds and rock-crystal on the lid and around the edges,
the interior and underneath are undecorated
4¼ x 4 x 1⅝ ins. (10.8 x 10.2 x 4.2 cm.)

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p.36
Victoria and Albert Museum, London 2015, pp.74-75, no.32
The Miho Museum, Koka 2016, p.89, no.59
Grand Palais, Paris 2017, p.98, no.68
The Doge’s Palace, Venice 2017, p.113, no.64
The Palace Museum, Beijing 2018, pp.134-35, no.67
de Young Legion of Honor, San Francisco 2018, p. 74, no. 20

LITERATURE:
Jafer 2013, p.118, no.49

(actual size)

270
271
196
A GEM SET JADE HUQQA BASE
NORTH INDIA, 1740-1780

Set with diamonds, rubies and emeralds,


the underside with a rosette formed of six leafy tendrils
6⅜ ins. (16.2 cm.) high; 6¼ in. (16 cm.) diam.

PROVENANCE:
Maharana Fateh Singh of Udaipur

EXHIBITED AND CATALOGUED:


Delhi Exhibition, Delhi 1903, pl.75
Metropolitan Museum of Art, New York 2014, p.38
Victoria and Albert Museum, London 2015, pp.78-79, no.34
The Miho Museum, Koka 2016, p.87, no.57
Grand Palais, Paris 2017, p.97, no.67
The Doge’s Palace, Venice 2017, p.122, no.71
The Palace Museum, Beijing 2018, pp.144-45, no.74
de Young Legion of Honor, San Francisco 2018, p. 73, no. 19

LITERATURE:
Jafer 2013, p.114, no.43

This huqqa base was put on display at the Delhi Durbar in 1903 as part of the loan
exhibition of Indian Arts drawn both from museum collections and from those of
the ‘Indian chiefs and nobles’. At that time it was owned by Maharana Sir Fateh
Singh of Udaipur, GCSI GCIE GCVO who ruled this, one of the most prominent
and powerful of Indian states, for 46 years, from 1884 until his death in 1930.
The exhibit of the huqqa, as it sits somewhat askew on its stand, is recorded in
a photograph published in the oficial record of the exhibition by George Watt
(London, 2015, p.78).

There are very few jade huqqas that have survived. This is not surprising; the task
of grinding out the entire interior of such a vessel through the mouth must have
taken weeks if not months. In the present vessel this process has been speeded
up by making it in two parts. The join is very cleverly concealed by the band of
linked leaves around the shoulder. This is another indication of the subtlety of the
Indian designers. The lines of inlaid stones in jade is frequently chosen to eface a
faw or discoloration in the original stone, to make the result more perfect.

This is the only huqqa base of this form. There is a related bottle which was sold
in our London saleroom 17 April 2007, lot 107, whose provenance could be traced
back almost certainly to William Pitt Amherst, frst Earl Amherst of Arracan (1773-
1857), who had served as Governor General of Bengal. The surviving jade huqqa
bases are almost all from a group, one of which was exhibited alongside this one
in Delhi in 1903. Each spherical body is covered with an inlaid lattice of dark jade
leaves forming lozenge-shaped compartments each of which contains a lapis iris
fower. One of this group reached the Chinese court where the Emperor Qianlong
inscribed it as it entered the Imperial Treasury; it is now in the Museum of Islamic
Art in Doha (Tan, 2002, no.4).

272
273
197
A CARVED JADE BOX
INDIA, CIRCA 1700

Comprising six hinged compartments around a central compartment, the stopper set
with a ruby, the surface and underside engraved in ribbed patterns, one loose lid
4 ins. (10 cm.) across

274
198
A QUATREFOIL CARVED JADE BOX
NORTH INDIA, CIRCA 1740-1800

The lid and main body decorated in low-relief


foral patterns, the cover set with garnet in lac, the
underside decorated with a central fowerhead
framed by scalloped patterns
3¼ ins. (8.2 cm.) long; 2⅜ ins. (6.1 cm.) wide;
1⅛ ins. (2.8 cm.) high

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015,
p.74, no.31
Grand Palais, Paris 2017, pp.86-87, no.55
The Doge’s Palace, Venice 2017, p.112, no.63
The Palace Museum, Beijing 2018,
pp.132-33, no.66
de Young Legion of Honor, San Francisco 2018, (alternate view)

p. 174, no. 43

275
199
A CARVED AND GEM SET JADE ELEPHANT
INDIA, LATE 19TH CENTURY

Set with diamonds and rubies


1⅜ ins. (3.5 cm.) wide; ⅞ in. (2.3 cm.) high

(actual size)

276
200
A GEM SET JADE DISH
INDIA, CIRCA 1800

Set with rubies, diamonds and emeralds in gold and silver,


the recessed centre drilled with a central hole, the reverse undecorated
3⅜ ins. (8.5 cm.) diam.

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.90, no.60
Grand Palais, Paris 2017, p.99, no.69
The Doge’s Palace, Venice 2017, p.125, no.73
The Palace Museum, Beijing 2018, p.149, no.77

LITERATURE:
Jafer 2013, p.118, no.49

It is likely that this was originally placed under a vessel or cup.

277
278
T I P U SU LTA N

Tipu Sultan (1750-1799), also known as ‘Tippoo following his defeat of the British forces during the Anglo-
Saheb’, was the last ruler of the kingdom of Mysore in South Mysore War of 1780-84, he made peace in 1784. The British
India. The emblem of the tiger and the tiger-stripe (bubri) motif declared war on him in 1790 culminating in Tipu’s defeat near
were adopted by Tipu as his personal emblem and adorned all Seringapatam and the ceding of half of his territories in March
his weapons and courtly objects, earning him the name, the 1799. After ferce fghting, Tipu was killed during the storming
‘Tiger of Mysore’. of Seringapatam on May 4th of that year. The siege was led by
Colonel Wellesley who later became Duke of Wellington. The
As one of the last powerful sovereigns in southern India, Tipu’s battle made Wellesley’s military career, and he remained in
kingdom posed a signifcant threat to British military power. India as Governor of Seringapatam for fve years. Tipu’s fall led
Born in 1750, he was the eldest son of Hyder Ali. Along with to several days of plunder of his palace and treasury. Although
his father, he fought several wars against the British East India several items were taken by the soldiers, the most important
Portrait of Tipu Sultan Company. Tipu commanded a corps of cavalry in the Carnatic objects were reserved for the British Royal Family and the
© 2016 Christie’s Images
War of 1767 and later distinguished himself in the Maratha War Directors of the East India Company.
Limited of 1775-79. In December 1782 he succeeded his father, and

279
201
TIPU SULTAN’S GEM SET JADE PENDANT
NORTH INDIA OR DECCAN, 1720-1750;
MOUNTED AS A BROOCH CIRCA 1900

Set with rubies and emeralds, mounted in a later


gold frame with a pin
1½ ins. (3.7 cm.) high; 1⅝ ins. (4.2 cm.) wide

PROVENANCE:
Rowlands and Frazer, 146 Regent Street, London
Miss Maud Odda, by 1890, thence by descent
Christie’s, London, 9 October 1990, lot 88
Spink and Son Ltd., London, 1992
Bonhams, London, 21 April 2015, lot 175

EXHIBITED AND CATALOGUED:


Spink and Son 1992, p.58, no.47
The Miho Museum, Koka 2016, p.146, no.110
Grand Palais, Paris 2017, p.105, no.74
The Doge’s Palace, Venice 2017, p.128. no.77
The Palace Museum, Beijing 2018, p.153, no.81

This elegantly decorated gem set jade ornament


is believed to have been found on the body of Tipu
Sultan, the ruler of Mysore who was defeated by
British forces in 1799. His treasury was subsequently
distributed amongst members of the campaign
and the most signifcant items were presented to
George III and Queen Charlotte (Beijing 2018, p.153).
It has been suggested that this ornament probably
decorated the belt loop of a dagger (Paris 2017,
p.105). It was converted into a brooch in the 19th
century. It comes in a ftted case from Rowlands and
Frazer jewellers and is accompanied by a hand-
written note which mentions Tipu Sultan and is
dated 1799.

For a gem set jade plaque which is thought to have


belonged to Tipu Sultan, see lot 202.

280
202
A JEWELED JADE PLAQUE
INDIA, CIRCA 1800

Lion and sun motif set with rubies, emeralds and


rock-crystal, the reverse undecorated
¾ x ¾ in. (2.1 x 2.1 cm.)

LITERATURE:
Jafer 2013, p. 92, no. 6

The lion and sun motif is a heraldic symbol


associated with the Safavid and Qajar rulers of Iran
and alludes to a possible Shi'a patron. This jeweled
plaque is thought to have been worn by Tipu Sultan. (actual size)

For a gem set jade pendant belonging to Tipu Sultan


in the sale, see lot 201.

281
203
A GOLD FINIAL FROM THE THRONE OF TIPU SULTAN
MYSORE, SOUTH INDIA, CIRCA 1787-1793, PLINTH CIRCA 1800

Set with diamonds, rubies and emeralds,


the marble plinth with gilt metal fttings
6¾ ins. (17.1 cm.) high with stand

PROVENANCE:
Tipu Sultan of Mysore
Thomas Wallace, Baron Wallace of Knarsdale (1763-1843)
Bonhams, London, 2 April 2009, lot 212
Private Collection

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp.46-47
Victoria and Albert Museum, London 2015, pp.66-67, no.26
The Miho Museum, Koka 2016, p.144, no.108
Grand Palais, Paris 2017, pp.176-77, no.133
The Doge’s Palace, Venice 2017, p.206, no.138
The Palace Museum, Beijing 2018, pp.228-29, no.142
de Young Legion of Honor, San Francisco 2018, p. 110, no. 47

LITERATURE:
Jafer 2013, pp.189-90, no.61

This is one of eight fnials that ornamented the octagonal (or possibly hexagonal)
gold throne commissioned by Tipu Sultan (r. 1782-1799), known as the ‘Tiger of
Mysore’. Tipu adopted the symbol of the tiger as part of his royal identity. The
tiger is associated with all his courtly objects and weapons. Following Tipu’s
defeat by British forces at the battle of Seringapatam in 1799, the throne was
dismantled and the components dispersed.

Only three other tiger-head fnials, in addition to the present lot, from the railing of
Tipu's grand throne are published. One was given by Lord Wellesley to the second
Lady Clive in India and is now in the Clive Collection at Powis Castle. The second,
acquired by Surgeon-Major Pultney-Mein after the battle, was sold at Sotheby’s,
London, 19 March 1973, lot 180; its current whereabouts are unknown. The third,
from the collection of Lieutenant-General Sir Thomas Bowser (1749-1833), sold at
Bonhams, London, 7 October 2010, lot 370 (Paris 2017, cat. 132, p.176). While the
design is the same on the all the fnials, there are diferences in the gem settings
and craftsmanship, suggesting that several goldsmiths worked on the throne
and its fttings.

Two other parts of the throne, the majestic jeweled huma bird fnial from the
canopy and a large gold tiger head from the base, are in the British Royal
Collection (RCIN 48482 and 67212).

282
204
TIPU SULTAN’S MAGIC BOX
MYSORE, SOUTH INDIA, 1780-90

Each of the twenty sides of the gold icosahedron


decorated with a numeral
2⅛ ins. (5.5 cm.) high; 2¼ ins. (5.8 cm.) diam.

PROVENANCE:
Tipu Sultan of Mysore
General Robert Bell
Sir Charles Hopkinson
Hans William Sotheby
Ingram Bywater
Charles Francis Bell
Christie’s, London, 10 October 1989, lot 183
Sotheby’s, London, 25 May 2005, lot 65

EXHIBITED AND CATALOGUED:


The National Gallery of Scotland, Edinburgh 1999, pp. 68, 84, pl.90, no.68
Metropolitan Museum of Art, New York 2014, p.48
Victoria and Albert Museum, London 2015, p.68, no.27
The Miho Museum, Koka 2016, p.145, no.109
Grand Palais, Paris 2017, pp.180-81, no.135
The Doge’s Palace, Venice 2017, p.207, no.139
The Palace Museum, Beijing 2018, pp.230-31, no.143
de Young Legion of Honor, San Francisco 2018, p. 111, no. 48

LITERATURE:
Moienuddin, 2000, p.133
Jafer 2013, pp.138-39, 190, no.62

Taken by General Robert Bell after Tipu Sultan’s defeat by the British at
Seringapatam in May 1799, the defnitive meaning of the numerals on the box has
eluded scholars to date. The numerals are 11, 20, 21, 31, 41, 51, 61, 71, 81, 91, 101, (alternate view)
201, 202, 301, 401, 501, 601, 701, 801 and 901. It is considered most likely that
they represent complex mathematical calculations based on those of the ancient
Greeks (Paris 2017, p.180). The exact purpose of this unique and extraordinary box,
however, remains a mystery. The box originally contained two manuscript notes,
one with a diagram of the 20 sides of the box, the other stating that the box was
taken from the treasury of Tipu Sultan (Beijing 2018, p.230).

284
(alternate views)
205
A GEM SET GOLD SPOON
INDIA, CIRCA 1850-1875

Set with diamonds, foiled rubies and emeralds,


the reverse fully gem set in dense foral patterns
8¼ ins. (21 cm.) long

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 270, no. 202
The Doge’s Palace, Venice 2017, pp. 286-87, no. 199
The Palace Museum, Beijing 2018, p. 303, no. 203

For a sword hilt of similar design, see lot 126.

286 IMAGE OF REDUCED SIZE


(detail)

(detail)

206
A GEM SET MACE
INDIA, 17TH CENTURY

Set on fnial with large Mughal-cut diamond and


also set with rubies and emeralds
21 ins. (53.3 cm.) long

PROVENANCE:
By repute, Maharajas of Indore

The historic weapon of the mace is considered


second only to the sword and played a key role in
ceremonies as a symbol of power, authority and
military prowess (Mohamed, 2007, p. 235). The
shape of the present mace is comparable to an earlier
eighteenth century steel mace produced in India in
the Metropolitan Museum of Art (inv. no. 36.25.1874).
Other examples of ceremonial maces were produced
in luxurious materials such as a carved rock crystal
example set with a ruby from eighteenth century
Mughal India in the Metropolitan Museum of Art
(inv. no. 36.25.1884). However, the quantity of the
inset stones adorning this mace is considerably
higher than other known examples.

The Royal Mace of Iran, although a diferent shape to


this example, shares this lavish ornamentation as it
is encrusted with various jewels including diamonds,
emeralds, and spinels. This mace was the favorite of
Fath ‘Ali Shah who is frequently depicted with it in
portraits including one in the British Library (inv. no.
F116, see Fellinger and Guillaume, 2018, fg. 1, p.114).

IMAGE OF REDUCED SIZE 287


288
T H E P E N C A S E AT COU RT

The pen case has been a symbol of power at court and ribbed domed covers are known on brass examples
throughout the mediaeval Islamic period. One of the very few attributed to the Deccan in the Al-Sabah Collection (LNS 637
top quality mediaeval Persian objects that has survived inscribed M and LNS 638 M). The dome in our example is higher and
with a non-royal owner’s name was a pen case made for the even closer to the proportions of the swelling lotus-bud shaped
Ilkhanid vizier Shams al-Din Muhammad Juvaini that sold at domes that are such a feature of Deccani Sultanate architecture.
Sotheby’s, London, 30 April 2003, lot 68. At the Mamluk court The collar below the dome echoes the band of sepals that
in Egypt the pen-case became an increasingly frequent element typically encloses the base of a Sultanate architectural dome.
of the heraldry that indicated the position at court of the amir
whose bearing it was. Pen cases and inkwells are among the Just as the proportions here are far more voluptuous than
most opulently decorated works of art of the mediaeval Islamic the elegant refnement of the Mughal jade example, so is the
world. In a way they are a mediaeval refection of the modern decoration. A riot of gold and precious stones, the gold with
maxim that “knowledge is power”. its scrolls, leaves and swirls running riot like a plant over the
surface. These leaves and scrolls are however carefully worked
This tradition continued into the Mughal world. Because of the to create claws that help retain the stones. The work, both
wonderfully detailed records left by the early Mughal emperors in terms of the materials and the execution is very similar to
and their courtiers, we know that from Babur’s time until the that of a fask, probably a case for a ceremonial conch shell,
reign of Aurangzeb, opulently decorated pen cases were given in the Al-Sabah Collection, (LNS XXXV SH; Zebrowski, 1997,
to leading court oficials, especially viziers and Chief Revenue pl.45; Keene and Kaoukji 2001, no.13.3, p.144). Both use very
Oficer. One such was given by Jahangir to Asaf Khan, the pronounced gold, proudly ribbed on the surface, within which
oficial depicted in Lots 338 and 182, on his appointment as the stones are almost enveloped. The stones themselves are
Mir Bakhshi (vizier) in 1608. Considerable further examples comparable, with good colour rubies contrasting with paler
are noted by Amin Jafer (Jafer, 2013, p.90). Such pen-cases emeralds. The diamonds are noticeably primitively cut, some
were worn with pride, frequently tucked into the waist sash, as clearly revealing the original crystalline structure. The use of
depicted in various paintings. One of the best depictions is in claws extruded from raised gold-work enclosing cabochon
the depiction of the submission of Rana Amar Singh of Mewar tightly packed rubies is reminiscent of the construction of South
to Prince Khurram in the Chester-Beatty Library where two Indian temple jewels such as the late 17th century Gopalakrishna
courtiers are depicted with pen-cases in their waists (CBL. In temple pendant now in Doha (Tan, 2002, no.12, pp.46-49).
60.6; reproduced in San Francisco 2018, pl.28). Because of
the lack of comparable record-keeping we know far less about The bird on the underside of the inkwell has been identifed as a
the practices at the Deccani courts, but it is relatively safe to hamsa, a mythical bird that is associated with water, is also the
assume that the pen case was a similarly important indication mount of Sarasvati and is very similar to the mount for Brahma.
of status there as elsewhere in the Islamic and Mughal worlds. The conch shell cover in Kuwait has as the main element of
That the shape was also used in the Deccan is demonstrated the design a large bird that is considerably more ferocious; it
by a late 16th century drawing from Ahmednagar of a Scholar resembles the simurgh but has a strongly Hindu South Indian
mediating before an open book in the Musee Guimet in Paris face, reminiscent of the large lion supports at the Vitthala
(E.O.3577 (b); Zebrowski, 1983, pl.18). temple at Hampi, the capital of the Vijayanagara dynasty in
Southern India. While the main dynasty there was strongly
The earliest dateable pen case of this form, with the inkwell Hindu, there were Moslem queens, many of the constructions
attached to one side near the end of the tubular pen cases, is a are very clearly strongly infuenced by the Muslim architecture
silver and niello inlaid brass example signed by Mirak Hussein just to the north of their realm, and one of the buildings still
Yazdi dating from the early Safavid, early 16th century period in standing is a mosque in the Royal Enclosure of pure Sultanate
Iran (Benaki Museum, Athens, inv.13172). It is a form that spread, form. This seems the perfect context in which this spectacular
becoming the most popular shape in Ottoman Turkey as well inkwell and the conch shell cover would have been created, a
as appearing elsewhere in slightly diferent forms in the Islamic site that shows the same fusion of Hindu and Muslim elements
World. Within India the shape took on regional characteristics. as are found here.
A spectacular gem set jade example almost certainly made for
the Mughal court is in the al-Sabah Collection (LNS 84 HS; A comparable work is also found on a dagger attributed to the
Keene and Kaoukji, 2002, no.2.17, p.38). Very close in form to the royal Mughal workshop under Jahangir (inv.no.R-59; Mohamed,
Iranian prototype, the inkwell is compact, of small diameter and 2007, no.172); also two tawiz type pendants attributed to Deccan
with a simple onion dome with ball fnial. Here the proportions late 16th early 17th century in the Al-Sabah Collection (LNS
are very diferent: the inkwell is of wider diameter, but the really 1902 J; Curatola et. al, 2010 no.283).
prominent element is the ribbed domed cover. Similarly enlarged

289
207
AN EMERALD, RUBY AND DIAMOND SET GOLD STATE
PEN CASE AND INKWELL (DAVAT-I DAWLAT)
DECCAN, CENTRAL INDIA, LATE 16TH CENTURY

A sacred bird (hamsa) engraved under the inkwell


12¼ ins. (30.6 cm.) long; inkwell 4⅝ ins. (11.7 cm.) high

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2009, p.142, no.116
Kunsthalle der Hypo-Kulturstiftung, Munich 2010, p.142, no.116
Metropolitan Museum of Art, New York 2014, p.50
The Miho Museum, Koka 2016, p.80, no.50
Grand Palais, Paris 2017, p.147, no.110
The Doge’s Palace, Venice 2017, p.173, no.113
The Palace Museum, Beijing 2018 pp.200-01, no.117
de Young Legion of Honor, San Francisco 2018, p. 96, no. 36

LITERATURE:
Jafer 2013, p.90, no.1

290
IMAGE OF ENLARGED SIZE 291
208
A GEM SET GOLD CHESS SET
PROBABLY SOUTH INDIA, CIRCA 1775-1825

Thirty two pieces, set with rubies and emeralds, the base of each piece
in plain gold with undeciphered South Indian script
Highest piece 1⅞ ins. (4.7 cm.) high; smallest piece ⅞ in. (2.1 cm.) high

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, pp.58-59, no.31
Grand Palais, Paris 2017, pp.206-07, no,156
The Doge’s Palace, Venice 2017, p.217, no148
The Palace Museum, Beijing 2018, pp.238039, no,152

The ancient game of chess has been played in India since the sixth century.
This set represents the opposing teams through opulent gem set pieces with
rubies and emeralds. The gem-settings and the presence of an undeciphered
script on the base suggest a South Indian attribution for the present pieces. The
script under the base of these pieces is similar to Telegu. If so, then a Hyderabad
attribution would be appropriate. Such an attribution becomes more probable as
there was a tradition for the Nizams of Hyderabad to marry Ottoman princesses.
An earlier gold Ottoman chess set from the sixteenth century in the Topkapi
Sarayi Museum has similar shaped pieces decorated with turquoise inlay and
rubies (Rogers and Koseoglu, 1987, no. 121a, p.207 and London, 2012, no. 250,
p.382). The similarity between our set and this earlier example could indicate a
direct infuence from the Topkapi example.

292
IMAGES OF REDUCED SIZE 293
209
AN ENAMELLED AND GEM SET FLYWHISK
DECCAN OR NORTH INDIA, 1675-1725

Set with diamonds, rubies and emeralds


8¾ ins. (22 cm.) long

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.95, no.65
Grand Palais, Paris 2017, p.171, no.130
The Doge’s Palace, Venice 2017, p.195, no.131
The Palace Museum, Beijing 2018, p.220, no.135
de Young Legion of Honor, San Francisco 2018, p. 177, no. 80

LITERATURE:
Jafer 2013, p.106, no.40

A very similar fywhisk in terms of proportion, stones and coloring, is in the


al-Sabah Collection (LNS 1805 J; Keene and Kaoukji, 2001, no.6.50, p.83). That
example, lacking the lattice design that encloses the present fowerheads, is
attributed by the authors probably to Hyderabad, and dated to the 18th century.

294
210
A GOLD GEM SET AND ENAMELLED FLYWHISK HANDLE
INDIA, POSSIBLY DELHI, CIRCA 1680-1720

Of typical form, set with diamonds, emeralds and rubies on red-enamelled


ground, the fnial set with a carved emerald
8⅝ ins. (22 cm.) long

The design and settings of this fywhisk relate it closely to the large gem set and
enamelled huqqa base in the same collection (lot 71). Particularly indicative is the
use of stylised diamond-set cypress trees as dividing elements between felds
containing foral sprays.

296
297
211
A GROUP OF GLASS AMULETS

Four molded green glass amulets of foral motif,


with fttings for suspension, 1⅞, 1⅝, 1½, 1 ins. or
23.7 g, 22.8 g, 18.7 g, 2.6 g

It is very rare to come across a group of glass


amulets. It is very possible that these panels were
replicas of carved emerald amulets and were taken
on long journeys in order to prevent theft. It is also
possible that these glass panels were used by
lapidaries as models when carving gem emeralds.

211

212
TWO EMERALD PINS

Carved emerald, drop-shaped emerald, gold,


3⅛ and 2⅜ ins.

PROVENANCE:
Nizam of Hyderabad

212

298
213
AN ANTIQUE EMERALD AND
SPINEL PENDANT

Carved emerald, hexagonal-shaped table-cut


spinel, foil, gold, drilled lug for suspension,
⅞ in., late 18th century

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p. 71, no. 30
The Palace Museum, Beijing 2018, p. 83, no. 31

The drilled lug on the emerald suggests that this


pendant was originally part of a larger setting.
Through the spinel, there is deterioration visible (actual size)
near the foil, perhaps indicating that a pigment was
applied to enhance the stone's color.

299
214
AN ANTIQUE DIAMOND, EMERALD, RUBY
AND ENAMEL COLLAR NECKLACE

Oval, cushion and triangular-shaped old and rose-cut diamonds, oval,


rectangular and triangular-cut emeralds, oval and circular-cut rubies,
red enamel, gold, 14¼ ins., 19th century

PROVENANCE:
Nizams of Hyderabad

300
301
215
AN ENAMELLED AND GEM SET
GOLD SPOON
JAIPUR OR BIKANER, INDIA, 1825-1875

Set with diamonds, rubies, and a pearl fnial, the


back of the neck decorated with a peacock design
in enamel, the ruby set in the bowl of the spoon
is decorated with a bow design in red enamel on
gold, the entire handle is enamelled
5⅜ ins. (13.7 cm.) long; bowl ¾ in. (1.9 cm.) wide

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.159, no.123
Grand Palais, Paris 2017, p.209, no.158
The Doge’s Palace, Venice 2017, p.231, no.158
The Palace Museum, Beijing 2018, p.253, no.163

(reverse reduced size)

302
216
AN ENAMELLED AND GEM SET
GOLD SPOON
PROBABLY HYDERABAD, 1800-1850

Set with diamonds and a large emerald, the sides


and back decorated with green and red enamelled
foral designs
4½ ins. (11.4 cm.) long, ¾ in. (1.8 cm.) wide

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.158, no,122
Grand Palais, Paris 2017, p.208, no.157
The Doge’s Palace, Venice 2017, p.231, no.159
The Palace Museum, Beijing 2018, p.253, no.162

(detail reduced size)

303
217
AN ANTIQUE CARVED EMERALD, DIAMOND
AND PEARL TURBAN ORNAMENT

Carved rectangular-shaped emerald of


honeycomb motif, pear-shaped table-cut diamond,
strand of graduated pearls, foil, gold, 16 ins.,
(actual size) mid to late 18th century, restrung at a later date

304
218
AN ANTIQUE DIAMOND, EMERALD AND ENAMEL SARPECH

The turban ornament set with pear and oval-shaped table-cut diamonds, emerald beads, red, green,
white and blue enamel, gold on a lac core, 5½ ins., mid-19th century

LITERATURE:
Spink 1986, pp. 76-77, no. 83
Jafer 2013, p. 168, ill. p. 170 , no. 80

305
219
A PAIR OF ANTIQUE DIAMOND, PEARL,
EMERALD AND GLASS EARRINGS

Triangular-shaped table-cut diamonds, rose-cut diamonds, pearls, emerald


beads, round green glass beads, gold and silver, 3 ins., early 20th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 78
Victoria and Albert Museum, London 2015, p. 109, no. 60
The Miho Museum, Koka 2016, p. 153, no. 117
Grand Palais, Paris 2017, p. 256, no. 189
The Doge’s Palace, Venice 2017, p. 270, no. 185
The Palace Museum, Beijing 2018, p. 290, no. 189

LITERATURE:
Jafer 2013, p. 290, no. 189

(actual size)

306
308
MUGH A L E M E R A L DS

Fine large emeralds were unknown until their Centuries of tradition have held certain precious stones to
discovery in Colombia by the Spanish Conquistadors during the be imbued with powers radiated by celestial bodies. A logical
16th and 17th centuries. They were extremely popular in all three inference was to augment this phenomenon by carving the
of the great Islamic empires of the time: the Ottoman Turks, stone with a suitable image of a deity, with symbols or with
the Safavid Persians and the Mughal Indians; so much so that writing, transforming the stone into a talisman or an amulet.
none appear to have been retained at the time in Europe. They By the 17th century the master carvers in Jaipur were producing
reached India via Spain and Portugal as trade goods during the wonderful varied emeralds with foral motifs that were derived
Mughal dynasty. They were highly prized by the Indians who from the 17th century architecture, as well as to bring out the
used them mainly as beads or in gold artifacts. full color and beauty of the stone.

309
220
AN EMERALD BEAD

Drop-shaped emerald bead of 50.41 carats,


20.48 x 15.58 x 23.15 mm, mid-17th century
AGL, 2019, report no. 1100310: 50.41 carats,
Colombia, minor clarity enhancement,
traditional type

(actual size) EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 175, no. 137
Grand Palais, Paris 2017, p. 46, no. 24
The Doge’s Palace, Venice 2017, p. 61, no. 15
The Palace Museum, Beijing 2018, p. 73, no. 16

310
221
A CARVED EMERALD BEAD

Drop-shaped carved emerald drilled bead of


92.16 carats, 23.60 x 21.50 x 26.92 mm,
mid to late 17th century
AGL, 2019, report no. 1100306: 92.16 carats,
Colombia, minor to moderate clarity enhancement,
traditional type

(actual size)
EXHIBITED AND CATALOGUED:
Victoria and Albert Museum, London 2015,
p. 51, no. 13
The Miho Museum, Koka 2016, p. 172, no. 34
Grand Palais, Paris 2017, p. 46, no. 23
The Doge’s Palace, Venice 2017, p. 61, no. 14
The Palace Museum, Beijing 2018, p. 73, no. 15

LITERATURE:
Jafer 2013, p. 95, no. 12

311
222
A CARVED EMERALD AND PEARL TURBAN ORNAMENT

Drop-shaped carved emerald drilled bead, oval-shaped pearl, gold, 2⅛ ins.,


mid to late 17th century
AGL, 2019, report no. 1100315: Emerald, Colombia,
insignifcant to minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 52, no. 15
The Miho Museum, Koka 2016, p. 174, no. 136
Grand Palais, Paris 2017, p. 50, no. 31
The Doge’s Palace, Venice 2017, p. 58, no. 12
The Palace Museum, Beijing 2018, p. 71, no. 13

LITERATURE:
Jafer 2013, p. 95, no. 13

(actual size)

312
223
A CARVED EMERALD BEAD

Drop-shaped carved emerald drilled bead of 82.08 carats,


25.40 x 17.55 x 27.20 mm, mid to late 17th century
AGL, 2019, report no. 1100309: 82.08 carats, Colombia,
insignifcant clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 72, no. 14
The Miho Museum, Koka 2016, p. 173, no. 135
Grand Palais, Paris 2017, p. 47, no. 29
The Doge’s Palace, Venice 2017, p. 60, no. 13
The Palace Museum, Beijing 2018, p. 72, no. 14
de Young Legion of Honor, San Francisco 2018, p. 171, no. 15

(actual size)

314
224
AN ANTIQUE EMERALD, DIAMOND AND PEARL SARPECH,
LATER ADAPTED BY CARTIER

The turban ornament set with a cushion mixed-cut emerald, oval-shaped old-
cut diamond, rose and old-cut diamonds, pearl drop, silver-topped gold, ftted
with plume holder, top element is detachable, lower section may be worn as a
bazuband (armband), 4⅝ ins., circa 1890, with later added brooch ftting
by Cartier, Paris, 2012, red Cartier case
AGL, 2019, report no. 1100335: Colombia,
insignifcant clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 110
Victoria and Albert Museum, London 2015, pp. 116-17, no. 66
The Miho Museum, Koka 2016, p. 135, no. 101
Grand Palais, Paris 2017, p. 284, no. 213
The Doge’s Palace, Venice 2017, p. 299, no. 207
The Palace Museum, Beijing 2018, p. 314, no. 211
de Young Legion of Honor, San Francisco 2018, pp. 124-25, no. 57

LITERATURE:
Jafer 2013, p. 236, ill. p. 274, no. 97

This turban ornament is an excellent example of the expanding Western infuence


in India in the early 20th century. With open gem settings, the use of silver and
gold and the lack of enameling or engraving, the ornament parallels
European jewelry trends.

316
225
AN ART DECO EMERALD, DIAMOND, RUBY AND ENAMEL
SHOULDER BROOCH, CARTIER

Oval cabochon emerald, pear-shaped carved, buf-top and circular cabochon


emeralds, pear-shaped table-cut and circular-cut diamonds, circular
cabochon rubies, black enamel, platinum and gold, 2⅞ ins., 1924, unsigned,
with later added detachable seed pearl, onyx bead, enamel, diamond, emerald
and ruby tassel recreated from original records by Cartier workshops, 2012,
signed Cartier, TV0738, red Cartier case inscribed 'Indian Style Brooch'
Cartier, 2010: Certifcate of Authenticity (brooch)
Cartier, 2012: Certifcate of Authenticity (brooch and tassel)

PROVENANCE:
Sotheby's, New York, 9 December 2010, lot 464

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp. 104-5
Victoria and Albert Museum, London 2015, p. 137, no. 80
The Miho Museum, Koka 2016, p. 185, no. 146
Grand Palais, Paris 2017, p. 302, no. 224
The Doge’s Palace, Venice 2017, p. 315, no. 216
The Palace Museum, Beijing 2018, p. 329, no. 220
de Young Legion of Honor, San Francisco 2018, p. 139, no. 70

LITERATURE:
Jafer 2013, p. 320, no. 111

318
226
A CARVED EMERALD

Oval-shaped tabular carved emerald of 218.21 carats, with protruding lugs on three sides,
54.00 x 35.75 x 12.87 mm, late 17th to early 18th century
AGL, 2019, report no. 1100308: 218.21 carats, Colombia,
insignifcant clarity enhancement, traditional type
Gübelin, 2015, report no. 15030102: 218.22 carats, Colombia, minor clarity enhancement

LITERATURE:
The Miho Museum, Koka 2016, p. 165, no. 127
Grand Palais, Paris 2017, p. 44, no. 21
The Doge’s Palace, Venice 2017, p. 62, no. 16
The Palace Museum, Beijing 2018, p. 74, no. 17
de Young Legion of Honor, San Francisco 2018, p. 171, no. 17

(reverse actual size)

320
227
AN ART DECO MULTI-GEM AND DIAMOND 'TUTTI FRUTTI'
BROOCH, CARTIER

Carved emeralds, emerald, ruby and sapphire beads, onyx plaques,


old-cut diamonds, platinum and gold, 3⅜ ins., circa 1930, signed Cartier,
red Cartier case

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 189, no. 150
Grand Palais, Paris 2017, p. 328, no. 242
The Doge’s Palace, Venice 2017, p. 323, no. 222
The Palace Museum, Beijing 2018, p. 335, no. 226
de Young Legion of Honor, San Francisco 2018, p. 143, no. 75

Few designs have captured the imagination and enthusiasm of connoisseurs and
collectors as Cartier's 'Tutti Frutti'. Jewels of this motif are directly inspired by the
intricate Mughal carvings and craftsmanship found throughout the decorative
arts of India from the 16th century onwards. The incorporation of Indian infuence
and their adaptation of Indian jewelry was one of Cartier's greatest contributions
to the Art Deco period.

(actual size)

322
323
324
SY BI L SA S SOON
M a rc h ion e s s of Chol mon de l e y

Featured in Cartier's booth during the The belt was designed to complement the chic low-waisted
International Exhibition of Modern Decorative and Industrial dresses that were in vogue, specifcally for Sybil Sassoon,
Arts held in Paris in 1925, this magnifcent emerald, sapphire Marchioness of Cholmondeley. Sybil Sassoon, Marchioness of
and diamond belt buckle boasts an impeccable provenance. Cholmondeley, was the daughter of Sir Edward Sassoon and
Especially created by Cartier for the 1925 exhibition, its Baroness Aline de Rothschild. The importance of Lot 228 is
design, gemstones and colors are striking. This belt buckle is demonstrated by the fact that she chose to wear it, alongside
a perfect example of Cartier’s wonderful ability to reinterpret her most important jewels, for both the coronation of King
inspiration from the East, mixing Indian themes with Western George VI in 1937 and the coronation of Queen Elizabeth II in
Art Deco style. 1953. On both these occasions, she also famously wore the
sapphire and diamond tiara and necklace that were originally
part of the French Crown jewels.

opposite: Lady Sibyl


Cholmondeley, wearing Lot 228,
by Cecil Beaton.

Photograph courtesy of The


Cecil Beaton Studio Archive at
Sotheby’s

325
228
AN ART DECO EMERALD, SAPPHIRE AND DIAMOND
BELT BUCKLE-BROOCH, CARTIER

Octagonal step-cut emerald of 38.71 carats, buf-top calibré-cut sapphires


and emeralds, old and single-cut diamonds, platinum and 18k white gold
(French marks), 3½ ins., 1922, unsigned, partial maker's mark (Atelier Renault),
no. 0346, red Cartier case
Cartier, 2004: Certifcate of Authenticity
AGL, 2019, report no. 1100313: 38.71 carats, Classic Colombia,
insignifcant to minor clarity enhancement, traditional type
Gübelin, 2008, report no. 0801570: 38.71 carats, Colombia,
indications of minor clarity enhancement

PROVENANCE:
Sybil Sassoon, Marchioness of Cholmondeley (1894-1989)

EXHIBITED AND CATALOGUED:


Fine Arts Museum of San Francisco, San Francisco 2009, p. 72, no. 62
Paris 2013, p. 153, no. 192
Metropolitan Museum of Art, New York 2014, p. 103
Victoria and Albert Museum, London 2015, pp. 36-37, no. 79
The Miho Museum, Koka 2016, p. 186, no. 147
Grand Palais, Paris 2017, p. 329, no. 244
The Doge’s Palace, Venice 2017, p. 322, no. 220
The Palace Museum, Beijing 2018, p. 334, no. 224
de Young Legion of Honor, San Francisco 2018, p. 183, no. 135

LITERATURE:
Jafer 2013, p. 319, no. 110

(actual size)

326
328
G OL CON DA DI A MON DS

In the words of Venetian explorer Marco Polo (1254 For the connoisseurs, the Golconda diamonds which retain
– 1324) “No country but this (India) produces diamonds. Those their original cuts are the most appreciated. Since the stones
which are brought to our part of the world are only the refuse, as may have been mined hundreds of years ago, many exhibit the
it were, of the fner and larger stones. For the fower of slightly less than precise cutting styles common prior to this
the diamonds are all carried to the Great Khan and other kings century. ‘The Evening Star’s old mine pear-shaped cut tends
and princes of the region. In truth they possess all the treasures to emphasize the limpid transparency which makes Golconda
of the world.” diamonds so special.

Universally esteemed as the world’s fnest diamonds, ‘Golconda’ It is widely accepted that all diamonds which display this special
is a name used within the jewelry world to denote diamonds luminousness are of Indian origin. Although little is recorded of
which possess superb luminousness and transparency and an the very early days of diamond mining in India, it is believed that
innate purity. Besides indicating a superior quality, the term also it began about 400BC. For about 200 years, with the exception
signifes that the diamond is a period gem, mined in the ancient of a small and protected source in Borneo, this was the only
diamond felds of Southern India. ‘The Diamonds of Golconda’ source of the precious gems until about 1725 when diamonds
were known as India’s most prized possession, and some of the were discovered in Brazil, coincidentally at the same time as the
most famous Golconda stones include the Agra Diamond, the majority of diamond mines in India were depleted.
Hope Diamond at the Smithsonian, the Koh-i-Noor which forms
part of the British Crown Jewels, the Darya-i-Nur in Iran, and The The Indian diamond felds are found scattered throughout a
Princie Diamond. broad belt of ancient rocks extending nearly one thousand
miles in the north-south direction along the eastern half of the
Golconda diamonds have a higher degree of transparency – a country. The vast majority of the diamonds found were from
quality which is rarely seen in diamonds from other areas, such alluvial deposits – a secondary deposit formed by the breakdown
as South Africa, Russia, Canada or Australia, or even within of older rocks by the forces of nature and set down in river
India. The special whiteness about them is often described as beds. Within the diamond belt, diamonds were found in fve
soft, limpid, watery or pure. It is not to be confused with the distinct districts, each separated by high terrain. Each district
color grade or clarity – it is rather a quality in which light appears had its own name, the most famous being the Golconda district
to pass through the stone as if it were totally unimpeded, centered around the area capital, trading center and ancient fort
opposite: Courtesy of Barry which gives the stone its soft appearance. In addition, the of Golconda.
Lawrence Ruderman Antique surface luster appears to have a light softness, more gentle and
Maps — www.RareMaps.com
yet luminous and striking.

329
229
'MIRROR OF PARADISE'
A DIAMOND RING

Rectangular-cut diamond of 52.58 carats, tapered baguette-cut diamonds,


platinum, ring size 7¼
GIA, 2019, report no. 1132889310: 52.58 carats, D color,
Internally Flawless clarity, Type IIa
Gübelin, 2013, report no. 13090169: 52.58 carats, D color,
Internally Flawless clarity, Type IIa, appendix and 'Golconda' letter

PROVENANCE:
Christie's, New York, 20 April 1988, lot 308
Christie's, New York, 10 December 2013, lot 496

LITERATURE:
Rome 2002, p. 80, fg. 17
Victoria and Albert Museum, London 2015, p. 49, no. 10
The Miho Museum, Koka 2016, p. 180, no. 142
Grand Palais, Paris 2017, p. 40, no. 12
The Doge’s Palace, Venice 2017, p. 51, no. 5
The Palace Museum, Beijing 2018, p. 60, no. 6
de Young Legion of Honor, San Francisco 2018, p. 171, no. 8

(actual size unmounted) (actual size alternate views)

330
331
230
A WHITE ENAMELLED GOLD BOX WITH A GEM SET JADE LID
NORTH INDIA, 1650-1700

The entire exterior surface of the gold box including the underside is decorated in white enamel
with red foral designs, the interior is undecorated and in plain gold, the jade lid is gem set with
rubies and diamonds on top, the undersides bears an engraved fowerhead framed with a band
of enamelled gold with foral designs, four small feet
2⅜ ins. (6.2 cm) high; 3¼ ins. (8.2 cm.) diam.

The white enamel design on the underside is almost identical to that of a pair of earrings (karnphul)
formerly in the collection of Sheikh Saoud al-Thani and now in the Museum of Islamic Art,
Qatar (Tan, 2002, no.11, pp.44-5).

332
231
A CIRCULAR ENAMELLED GOLD BOX
MUGHAL INDIA, 1650-1700

Enamelled in translucent red, green and orange,


with white, yellow and black on a blue ground,
inscribed on the base in Persian’ 2 tola, 7 masha’,
base and interior are undecorated
1⅛ ins. (2.8 cm.) high; 1⅜ ins. (3.5 cm.) diam.

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.86, no.56
Grand Palais, Paris 2017, p.168, no.128 (alternate view)
The Doge’s Palace, Venice 2017, p.189, no.126
The Palace Museum, Beijing 2018, p.213, no.130

333
232
A GEM SET GOLD BOX
NORTH INDIA, CIRCA 1675-1725

Set with diamonds, emeralds and rubies on enamelled ground,


interior and underside enamelled with fowers
2⅜ x 1⅝ x 1⅛ ins. (6 x 4.3 x 2.9 cm.)

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.168, no.127
The Doge’s Palace, Venice 2017, p.188, no.125
The Palace Museum, Beijing 2018, p.212, no.130

LITERATURE:
Jafer 2013, p.93, no.8

The rectangular form, hinged cover and the extruded shaped thumbpiece on the
fore-edge of the lid of this elegant box are clearly taken from European models.
European jewelers were highly prized at the Mughal court for their innovative
techniques, including the introduction of enamelling which transformed the art
of the Indian jeweler. Two closely related boxes are in the al-Sabah Collection,
(Keene and Kaoukji, 2001, nos. 6.27 and particularly 6.28, p.73). The decoration
and form of no.6.27, with its row of stocky fowers around the sides closely
resembles our box. The turquoise color used for the ground here is highly unusual,
being found only on a small number of other Indian artifacts, including the interior
of no.6.26. A sword with similar colored ground on the hilt and locket in the same
collection, formerly sold at Christie’s, London, 19-20 April 1999, lot 407, is worked
with classic Mughal mid-17th century single fowering irises (op.cit. no.6.26,
pp.72-3). It has been suggested that the color might have been made in imitation
of the ubiquitous turquoise ground found on Chinese enamelled objects.

(actual size)

334
335
233
A MANGO-SHAPED CARVED AND GEM SET GOLD PERFUME FLASK
NORTH INDIA, 1700-1740

Set with diamonds, rubies and emeralds


3½ ins. (9.1 cm.) high, 1¾ ins. (4.5 cm.) wide, 1⅞ ins. (4.7 cm.) deep

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.83, no.53
Grand Palais, Paris 2017, p.166, no.125
The Doge’s Palace, Venice 2017, p.202, no.135
The Palace Museum, Beijing 2018, p.224, no.139

336
234
A PEAR-SHAPED GEM SET GOLD FLASK
INDIA, 1850-1900

Made in three sections, set with diamonds, rubies and emeralds, pendant pearls, the base of the stem
with a small star shaped leaf enamelled in green, the base of the fruit set with a cabochon emerald
4⅜ ins. (11.1 cm.) high; 1¾ ins. (4.4 cm.) diam

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.166, no.126
The Doge’s Palace, Venice 2017, p.202, no.136
The Palace Museum, Beijing 2018, p.225, no.140

337
235
A ROCK-CRYSTAL LIDDED CONTAINER
GOA, DECCAN, OR NORTH INDIA, 1575-1625

The body carved from one piece of rock crystal, set with rubies and an emerald in fnely crafted gold
mounts, the lid attached on one side with a delicate gold clasp,
underside with undecorated rock crystal body
1⅞ ins. (4.8 cm.) high; 2⅜ ins. (5.9 cm.) wide; 1⅞ ins. (4.8 cm.) deep

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.92, no.62
Grand Palais, Paris 2017, p.142, no.108
The Doge’s Palace, Venice 2017, p.166, no.110
The Palace Museum, Beijing 2018, p.191, no.114
de Young Legion of Honor, San Francisco 2018, p. 174, no. 52

LITERATURE:
Jafer 2013, pp.32, 90, no.2

A similar gem set rock crystal box is at the Victoria and Albert Museum (London, 1982, no.373, p.122). That
entry notes other examples in the British Museum and in the Topkapi Saray Museum, Istanbul. A further
example was sold Christie's, London, 6 October 2011, lot 382.

338
236
A MUGHAL ROCK-CRYSTAL FLASK
NORTH INDIA, 1650-1700

Original gold collar and stopper, the body set with rubies and emeralds in fnely scalloped gold kundan
3⅝ ins. (9.2 cm.) high; 2⅛ ins. (5.5 cm.) diam.

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp.32-33
Victoria and Albert Museum, London 2015, p.81, no.36
The Miho Museum, Koka 2016, p.93, no.63
Grand Palais, Paris 2017, p.143, no.109
The Doge’s Palace, Venice 2017, p.164, no.109
The Palace Museum, Beijing 2018, p.190, no.113
de Young Legion of Honor, San Francisco 2018, p. 78, no. 24

LITERATURE:
Jafer 2013, p.30, no.7

This bottle is made in two hemispherical parts held together by the inlaid gold wire mesh surrounding it. This
technique would have allowed an easier process for the craftsmen as opposed to carving and hollowing the
bottle from a single block of brittle rock crystal. Such small bottles could have been used to hold perfume but
also lime, a key ingredient to betel chewing, an important element of life at the Mughal court.

Please also see the following lot for a closely related fask.

339
237
A GEM SET ROCK-CRYSTAL FLASK
NORTH INDIA OR DECCAN, 1740-1780

Body carved out of a single piece of rock crystal set with diamonds,
rubies and emeralds in gold and silver, gold support ring on foot,
lid similarly decorated
7⅝ ins. (19.2 cm.) high; 4⅜ ins. (11.3 cm.) diam.

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, pp.80-81, no.35
The Miho Museum, Koka 2016, p.91, no.61
Grand Palais, Paris 2017, p.141, no.107
The Doge’s Palace, Venice 2017, p.167, no.111
The Palace Museum, Beijing 2018, pp.192-93, no.115
de Young Legion of Honor, San Francisco 2018, p. 77, no. 23

The bottle with its inlaid single gold wire decoration alternating elegant foral
sprays with a lozenge issuing swaying and curving foral sprigs recalls the
decoration seen on the small drop-shaped scent bottle (Lot 236). In contrast to
that example, this larger rock crystal bottle (surahi) is made from one block of
rock crystal, a remarkable technical feat (London, 2015). Very probably intended
as a wine bottle, its form can be paralleled to that of a magnifcent gem set jade
bottle which belonged to Lord Clive, sold at Christie’s, London, 27 April 2004,
lot 156. There are numerous examples of this form in metal including a gem
set gold example that formed part of Nadir Shah’s booty taken in Delhi after
his victory at Karnal in 1739, entirely set with emeralds with thin band of rubies
now kept at the Hermitage, St Petersburg (inv.no.V3-702).

340
238
A PAIR OF ENAMELLED AND DIAMOND-SET DOMED FITTINGS
INDIA, 19TH CENTURY

Each ftting with two attachment loops below


2½ x 2¼ x 2¼ ins. (6.3 x 5.5 x 5.5 cm.)

PROVENANCE:
By repute, Maharaja of Indore

342
239
AN ENAMELLED AND DIAMOND-SET MAKARA-HEADED SLIDE
INDIA, 19TH CENTURY

Set with diamonds on a green enamelled ground heightened with navy blue enamel, reverse in plain gold
with four suspension loops
6⅜ ins. (16 cm.) wide

PROVENANCE:
By repute, Maharaja of Indore

343
240
AN ENAMELLED AND DIAMOND-SET SUITE OF PAAN BOXES
HYDERABAD, DECCAN, 1760-1780

Comprising a large container and eight smaller boxes on a ftted tray, all set
with diamonds on a green enamel ground, the outer rim of the tray decorated
in dark blue enamel, the interior of all boxes and base of tray are undecorated
Tray 13¾ x 11⅜ ins. (35 x 29 cm.); largest box 4⅜ x 2⅜ x 2⅛ ins.(11.2 x 6.2 x 5.3 cm.);
each small box 1½ x 1⅛ x 1⅛ ins. (3.7 x 2.8 x 2.7 cm.)

PROVENANCE:
By repute, Nizams of Hyderabad
Habsburg Feldman, Geneva, 9 November 1987, lot 20
Sotheby’s, London, 9 October 2013, lot 241

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, pp.98-99, no.68
Grand Palais, Paris 2017, pp.194-95, no.147
The Doge’s Palace, Venice 2017, p.225, no.153
The Palace Museum, Beijing 2018, pp.246-47, no.157
de Young Legion of Honor, San Francisco 2018, p. 114, no. 51

This bejeweled suite of paan boxes illustrates the wealth and splendor of
the richest royal courts of India in the eighteenth century and the use of
the most lavishly decorated objects in Indian courtly tradition. The larger
paan daan (container) would have been used for holding betel nut and
prepared paan. The smaller boxes, an unusual feature, were for additional
spices and would have been part of the elaborate ritual of preparing
and ofering paan to guests at formal durbar assemblies (Paris 2017,
pp.194-195). The foral gem settings and the translucent green enamel
employed for decoration suggests Hyderabad in the Deccan as the
centre of production. For other similarly decorated objects from
Hyderabad, dateable to the third quarter of the eighteenth century,
see lots 139 and 241.

A partly gilded, silver paan box and tray of similar style and size,
dated to the second half of the eighteenth century, is in the Clive
Collection at Powis Castle (Archer et al, New York, 1987, p.74,
no.86, ill. p.58).

344
345
241
AN ENAMELLED AND GEM SET PAAN BOX
HYDERABAD, DECCAN, 1750-80

The lid set with diamonds on an engraved gold ground covered in green
enamel, the inside and base decorated with dense foral designs in
green and blue enamel
6⅜ ins. (16.2 cm.) across

PROVENANCE:
By repute, Nizams of Hyderabad
Habsburg Feldman, Geneva, 9 November 1987, lot 18
Christie’s, London, 8 October 1997, lot 390
Francesca Galloway, London Art Market

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 196, no. 148
The Doge’s Palace, Venice 2017, p. 227, no. 155
The Palace Museum, Beijing 2018, p. 249, no. 159

LITERATURE:
Jafer 2013, pp. 193-94, no. 70

This diamond-set and enamelled box in the form of a betel leaf would have been
used for holding and presenting paan. The use of a leaf shape is unusual for a paan
container as they are more commonly seen in circular or octagonal form with a
domed lid and an accompanying tray. The jeweled decoration of this box suggests
that it was probably used in a courtly context and its small size suggests use in
an intimate social setting. A carved nephrite jade box, dateable to the early 18th
century, of comparable leaf form is in the Victoria and Albert Museum, London
(C.1947 and A-1910; Skelton et al, 1982, pp.120-1, no. 368). Another comparable
Deccani copper alloy paan box with pierced decoration, dating from the early 19th
century, is in the Jagdish and Kamla Mittal Museum of Indian Art in Hyderabad,
India (Jafer 2013, p.194).

The gem settings and the translucent green enamel suggests that this paan box
was probably made in Hyderabad in the late 18th century. For other examples of
gem set and green enamelled objects from the Deccan in the sale,
see lots 139 and 240.

(reverse reduced size)

346
242
AN ENAMELLED AND GEM SET STEEL ELEPHANT GOAD (ANKUS)
HYDERABAD, DECCAN, 19TH CENTURY

Of typical form set with diamonds, main body covered in green enamel with
small areas decorated in navy and light blue enamels, a small ruby-eyed parrot
at the junction of shaft and plate, silk and metal-thread cord
18⅛ ins. (46 cm.) long without tassle; 4⅜ ins. (11.2 cm.) wide

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.111, no.79
Grand Palais, Paris 2017, p.189, no.143
The Doge’s Palace, Venice 2017, p.229, no.156
The Palace Museum, Beijing 2018, pp.250-51, no.160
de Young Legion of Honor, San Francisco 2018, p. 115, no. 52

LITERATURE:
Bala Krishnan and Kumar 1999, p.120, no.171
Jafer 2013, p.196, no.79

This gem set and enamelled goad (ankus) was constructed for use by a mahout
to control and direct an elephant. Alongside its practical function, the goad’s
elaborate jeweled decoration suggests a ceremonial use perhaps in a religious
or state procession where richly caparisoned elephants would have played an
important role. An ankus was also seen as a symbol of authority. In his 1886
publication, Colonel Hendley notes that gold and enamelled goads formed part
of the dress of honor given by the Maharaja of Jaipur to some of his high-ranking
nobles (Jafer 2013, p.196). The ankus has symbolic importance as being an
attribute of various Hindu deities, including the elephant-headed Ganesh, and
is often found in temple treasuries in India. It is one of eight auspicious objects
(ashtamangala) used at ceremonial occasions and is a sacred symbol in Hinduism,
as well as Jainism and Buddhism.

There is a comparable gem-encrusted and enamelled elephant goad from Jaipur


in the Victoria and Albert Museum, London (inv.no. 02693 (IS); Skelton et al,
1982, cat. 449, p.136); one in the Wallace collection, London (inv.no. OA11382) and
another illustrated in Spink 2000, pp.58-59, no. 36 (Jafer 2013, p.196). All three,
like the present lot, can be dated to the 19th century on the basis of their gem
settings and enamelling styles.

348
IMAGE OF REDUCED SIZE
243
AN ENAMELLED AND GEM SET SWORD HILT
NORTH INDIA, EARLY 18TH CENTURY

Set with diamonds and emeralds in gold on a red enamelled ground, in four separate parts which screw in
to one another, all surfaces decorated, some stones missing
8 ins. (20.3 cm.) high

LITERATURE:
Jafer 2013, p. 84, ill. p. 106, no. 42

350 IMAGE OF REDUCED SIZE


244
A GEM SET RUBY SWORD HILT
SOUTH INDIA, PROBABLY 16TH CENTURY

Made from a single block of ruby, set with diamonds, those on the ruby added in the early 19th century,
green champlevé enamelled quillons
6⅞ ins. (17.4 cm.) long; 3¾ ins. (9.5 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp.268-69, no.199
The Doge’s Palace, Venice 2017, p.284, no.195
The Palace Museum, Beijing 2018, p.300, no.199

351
245
THE HILT OF THE STATE SWORD
OF MAHARAJA JAGATJIT SINGH OF
KAPURTHALA (1872-1949)
NORTH INDIA, CIRCA 1900

Enamelled and set with diamonds, the lion-headed


pommel set with ruby eyes, one side of the hilt set
with a raised and molded crest of Kapurthala and the
other side with the words ‘Kapurthala State’
set in diamonds
8¾ ins. (22.5 cm.) high

352
This magnifcent hilt was produced for a ceremonial
sword belonging to Maharaja Jagatjit Singh (r.1877-1947),
the last ruler of Kapurthala, a former princely state in
North India and one of the fve Phulkian states of Punjab.
Painted portraits and photographs of Indian princely
rulers would often depict them with their swords clearly
visible, as illustrated in the oficial Delhi Durbar portraits
of 1903 and 1911. Maharaja Jagatjit Singh was present at
the Delhi Durbar of 1903 where an extravagantly jeweled
sword beftting the grand occasion, such as this,
would have been used.

The decoration on the hilt is an amalgation of traditional


Indian and Western design infuences. The hilt follows the
Mughal tradition of enamelled and gem-encrusted blade
weapons. The dark blue enamel used on the hilt is often
seen on 19th century objects and usually associated with
the enamelling centers of Punjab and Lahore in the North-
West and Jaipur in western India. The scrolling diamond-
set gold framework surrounding the enamelled coat of
arms on the guard illustrate a strong European infuence.
The hilt with its pommel in the form of a tiger’s head is
a known feature from Mughal swords and daggers. The
Emperor Jahangir is portrayed in a c.1620 painting from
the Minto Album, by the artist Bichitr, with tiger-head
hilted knife suspended from his cummerbund (Leach,
1995, cat.no. 3.15, p. 387). There is a Mughal knife dating
from the frst half of the 17th century in the Al-Sabah
Collection, Kuwait with its hilt carved in the form of a
young lion or lioness’s head (inv.no.LNS 841; Kaoukji, 2017,
cat.no.74, pp.208-209).

A gem set and enamelled sword hilt from the second


half of the 19th century made for the Raja of Nabha,
another Phulkian princely state in Punjab, sold recently
at Christie’s, London, 21 April 2016, lot 34. A ceremonial
sword made for the Nizam of Hyderabad, the hilt with
comparable gem-settings, dating from circa 1880-1900, is
being ofered in the present sale as Lot 263.

353
246
A SILK AND GOLD-THREAD
EMBROIDERED SASH
NORTH INDIA, POSSIBLY DELHI,
SECOND HALF 19TH CENTURY

The gold slide-bar and buckle each set with


diamonds, rubies and emeralds, backed with
an orange velvet
Sash 2 ins. (5.1 cm.) wide; bar 4¼ ins. (12.1 cm.)
wide; buckle 2½ x 3⅛ ins. (6.5 x 8 cm.)

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp.82-83
Victoria and Albert Museum, London 2015, p.116,
no.65
The Miho Museum, Koka 2016, pp.138-39, no.104
Grand Palais, Paris 2017, pp.264-65, no.197
The Doge’s Palace, Venice 2017, p.128, no.193
The Palace Museum, Beijing 2018, p.297, no. 197

LITERATURE:
Jafer 2013, pp.226-228, no.93

A very similar buckle was ftted to the centre of a


tortoiseshell shield presented to the Prince of Wales
on his tour of India in 1876, now in the British Royal
Collection. (inv.no. RCIN 11411; Meghani, 2018, p.147).
Presented by the Maharaja of Patiala, it was already
at that stage reported in the Illustrated London News
as being re-used from another setting.

354 IMAGE OF REDUCED SIZE


247
SEHRA AND TOPI
POSSIBLY NORTH INDIA,
CIRCA 19TH CENTURY

A bridegroom's ornamental headdress


consisting of a ftted cap (topi) and a veil (sehra),
made of cotton/silk, a gem set border along
the bottom with inset jewels backed with textile,
25 suspended strands with hanging rubies, pearls,
and emeralds, ending in tassels
Sehra: 10 ins. (25.4 cm.) wide (gem set border);
13½ ins. (34.2 cm.) long (suspension beads)
Topi: 6 ins. (15.2 cm.) high

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 274-275, no. 206
The Doge’s Palace, Venice 2017, p. 293, no. 202
The Palace Museum, Beijing 2018, p. 308, no. 206
de Young Legion of Honor, San Francisco 2018,
p. 182, no. 121

IMAGE OF REDUCED SIZE 355


248
AN ANTIQUE SPINEL, EMERALD,
DIAMOND AND ENAMEL JIGHA

The turban ornament set with rectangular-shaped


spinels, pear-shaped emeralds, drop-shaped
emerald beads, variously-shaped portrait-cut
diamonds, green, red, white and blue enamel
on the reverse, foil, gold on a lac core, with
plume holder ftting on the reverse, 6¼ ins.,
mid 18th century

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 124, no. 91
Grand Palais, Paris 2017, p. 219, no. 161
The Doge’s Palace, Venice 2017, p. 239, no. 162
The Palace Museum, Beijing 2018, p. 260, no. 166

LITERATURE:
Jafer 2013, p. 131, ill. p. 189, no. 58

(reverse reduced size)

356
249
A GEM SET AND ENAMELLED GOLD
FLYWHISK HANDLE
INDIA, POSSIBLY HYDERABAD, SECOND HALF
18TH CENTURY OR POSSIBLY LATER

Of typical form, longer than normal, set with


diamonds and rubies on green and occasionally blue
enamel ground, areas of loss of enamel
11⅝ ins. (29.5 cm.) long

PROVENANCE:
By repute, Maharajas of Indore

IMAGE OF REDUCED SIZE 357


250
AN ANTIQUE RUBY, DIAMOND, EMERALD
AND PEARL BIRD ORNAMENT

Designed as a bird set with variously-shaped


cabochon rubies and emeralds, variously-shaped
table-cut diamonds, seed pearls, gold on a lac core,
1⅜ ins., 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 52
The Miho Museum, Koka 2016, p. 116, no. 84
Grand Palais, Paris 2017, p. 183, no. 139
The Doge’s Palace, Venice 2017, p. 209, no. 142
(actual size)
The Palace Museum, Beijing 2018, p. 233, no. 146

LITERATURE:
Jafer 2013, pp. 191-92, no. 66

Set with a small screw at the bird's feet,


this pendant was likely mounted originally
on a ring or staf of ofice.

358
251
A PAIR OF ANTIQUE DIAMOND
AND MULTI-GEM BIRD PENDANTS

Pear-shaped table-cut diamonds, cabochon and


table-cut rubies, cabochon emeralds, red glass
beads, pearls, green and blue enamel, foil,
gold on a lac core, each 1⅝ ins., 18th century

(reverse)

359
252
AN ANTIQUE DIAMOND AND MULTI-GEM
BIRD PENDANT

Variously-shaped table-cut diamonds, oval


cabochon rubies and emeralds, pearls, foil,
gold on a lac core, 3 ins., mid-18th century

PROVENANCE:
Bonhams, London, 4 October 2011, lot 263

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 53
The Miho Museum, Koka 2016, p. 112, no. 80
Grand Palais, Paris 2017, p. 184, no. 140
The Doge’s Palace, Venice 2017, p. 214, no. 146
The Palace Museum, Beijing 2018, p. 236, no. 150

LITERATURE:

252 Jafer 2013, p. 187-88, no. 56


(alternate views)

253
AN ANTIQUE DIAMOND AND MULTI-GEM
BIRD PENDANT

Variously-shaped table-cut diamonds, oval and


triangular-shaped cabochon rubies and emeralds,
pearls, black, blue, green, white, red and yellow
enamel, foil, gold on a lac core, 3¼ ins.,
mid 18th century

PROVENANCE:
Sotheby's, London, 1 April 2009, lot 126

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 113, no. 81
Grand Palais, Paris 2017, p. 184, no. 141
The Doge’s Palace, Venice 2017, p. 215, no. 147
253 The Palace Museum, Beijing 2018, p. 237, no. 151
(alternate views)
LITERATURE:
Jafer 2013, p. 188, no. 57

360
254
AN ANTIQUE RUBY, EMERALD AND GOLD HAWKING RING

Designed as a bird, oval and circular cabochon rubies, cabochon emeralds,


gold on a lac core, ring size 7¾, bird 2¾ ins., mid to late 18th century

PROVENANCE:
By repute, Tipu Sultan of Mysore

EXHIBITED AND CATALOGUED:


The National Gallery of Scotland, Edinburgh 1999, pl. 28
Grand Palais, Paris 2017, p. 185, no. 141bis
The Doge’s Palace, Venice 2017, p. 208, no. 140
The Palace Museum, Beijing 2018, p. 232, no. 144
de Young Legion of Honor, San Francisco 2018, p. 178, no. 87

It is believed that Tipu Sultan wore this ring when hawking. Hawking was a common sport associated with
kingship in India, especially during the British Raj.

361
255
AN ANTIQUE DIAMOND, RUBY, EMERALD AND
ENAMEL BIRD PENDANT

Pear-shaped table-cut diamonds, cabochon and table-cut rubies,


green and blue enamel, gold, 1⅜ ins., 18th century

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp. 186-87, no. 142
The Doge’s Palace, Venice 2017, p. 213, no. 145
The Palace Museum, Beijing 2018, p. 235, no. 149
de Young Legion of Honor, San Francisco 2018, p. 104, no. 43

(alternate views actual size)

362
256
A COURTIER FEEDING A GOSHAWK
MUGHAL INDIA, CIRCA 1600-1610; BORDERS FROM
THE LATE SHAH JAHAN ALBUM, CIRCA 1650-1658

Opaque pigments and gold on paper, blue and cream borders,


illuminated cream album leaf, backed on cream card
Painting 5⅜ x 5¼ ins. (13.6 x 8.2 cm.); folio 14⅜ x 9¾ ins. (36.5 x 24.9 cm.)

PROVENANCE:
Probably Georges Demottes, Paris 1909
Maurice and Edmund de Rothschild Collection, Paris
P & D Colnaghi & Co Ltd, London 1976
The Khosrovani-Diba Collection, sold Sotheby’s, London,
19 October 2016, lot 7

EXHIBITED AND CATALOGUED:


The Palace Museum, Beijing 2018, pp.472-73, no.179

LITERATURE:
Falk 1976, p.189 and 212, no.110
Goswamy and Fischer 1987, no.73

INSCRIBED:
In Persian, pad shah turkestan ‘Emperor of Turkestan’

This elegantly dressed Mughal courtier is depicted feeding a small bird to a


goshawk. Falconry, with its association to royal status, was a popular sport in
Mughal courtly circles, in particular under Emperor Jahangir. Many Mughal
paintings depict courtiers or noblemen holding a bird of prey including a
comparable painting in the Musée Guimet, Paris
(Okada, 1989, no.49, pp.34, 174-5).

The painting is mounted with borders originating from the remarkable ‘Late
Shah Jahan Album,’ notable for their lavish decoration with human fgures, birds,
animals and fowers. The framework lattice design of this border is among the
rarest; only six others of this type have been recorded (Wright, 2008, nos. 55-56
pp.115-117, nos. 55-56, 68B, pp.116-117, 405, app. 3E, p.465). For another drawing
mounted with borders from this album, see lot 182 in this sale.

364 OPPOSITE IMAGE OF ENLARGED SIZE


365
257
PRINCE MU’AZZAM BAHADUR SHAH AND
A COURTIER HOLDING A FALCON
MUGHAL INDIA, FIRST HALF 17TH CENTURY

Opaque pigments and gold on paper, on pink leaf, backed on cream card
Painting 9⅛ x 5⅞ ins. (23.2 x 15 cm.); folio 16 x 10⅞ ins. (40.3 x 27.8 cm.)

PROVENANCE:
Colonel John Murray
Sotheby's, London, 15 June 1959, lot 117
Hagop Kevorkian (1872-1962), New York
Sotheby's, London, 21 April 1980, lot 138

366 OPPOSITE IMAGE OF ENLARGED SIZE


367
258
A GROUP OF PRINCES OUT HAWKING
MURSHIDABAD, PROVINCIAL MUGHAL, NORTH INDIA,
MID 18TH CENTURY

Opaque pigments and gold on paper, backed on cream card


Painting 10⅜ x 15⅞ ins. (27.7 x 40.3 cm.)

This beautiful illustration of a group of royal princes out hawking fnds close
comparison with a large landscape painting from Murshidabad in the Swinton
Collection which depicts the Mughal Emperor Muhammad Shah (r.1719-48)
hunting cranes with his hawks, attributable to the artist Chitarman, dating circa
1725-30 (Losty, 2017, p.799, no.35). Both paintings illustrate the hunting cavalcade
in the foreground with the fgures dressed in traditional green hunting attire.
Covered wagons drawn by bullocks on the left, hawks attacking cranes mid-air on
the right, and the background receding with distant views of hills and an imperial
entourage marching through are elements common to both paintings.

The details rendered with extraordinary sensitivity, the landscape format and
the use of perspective suggests that Murshidabad artists were familiar with
the development of the imperial Mughal style in the mid-18th century and the
popularity of large, detailed processional scenes towards the end of the reign of
Muhammad Shah and that of his successor Ahmad Shah (r.1748-54). Our painting
can also be compared to a processional scene portraying Mir Jafar Ali Khan on a
hunting expedition with his son Miran, signed by the artist Purannath known as
Hunhar II, painted Patna dating circa 1760, in the Victoria and Albert Museum,
London, I.M. 13-1911 (Losty, 2014 p.88, fg. 5).

368 OPPOSITE IMAGE OF REDUCED SIZE


259
A CAMEL-HEADED JADE-HILTED
DAGGER (KARD)
NORTH INDIA, 1650-1700

Set with ruby eyes, steel blade


11⅝ ins. (29.5 cm.) long; 1¾ ins. (4.6 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.111, no.83
The Doge’s Palace, Venice 2017, p.139, no.87
The Palace Museum, Beijing 2018, p.163, no.91

Zoomorphically carved dagger hilts are well


documented in 17th century Mughal Indian paintings.
Several examples can be seen in the Windsor
Padshahnameh, for example, dating from the frst half
of the 17th century (See Beach, Koch and Thackston,
1997, pp.36-37, pls.8-9, p.109, pl.45, pp.40-41,
pls.10-11, p.47, pl.14, p.47, pl.19, pp.64-65, pls.23-24).

370
260
A GEM SET JADE HILTED DAGGER
WITH MATCHING LOCKET
NORTH INDIA OR DECCAN, 1675-1725

Set with rubies and emeralds, rain guard


decorated with a half sun motif in gold-
damascened, steel blade
15¼ ins. (38.5 cm.) long; 2⅞ ins. (7.2 cm.) wide;
locket 1⅝ ins. (4.2 cm.) long; 1⅞ ins. (4.9 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.121, no.92
The Doge’s Palace, Venice 2017, p.147, no.95
The Palace Museum, Beijing 2018, p.171, no.99

LITERATURE:
Jafer 2013, p.68, no.31

IMAGES OF REDUCED SIZE 371


261
A GEM SET JADE HILTED DAGGER
NORTH INDIA, 1620-1640

The hilt with split pommel and set with rubies and emeralds decorated with
two birds and foral sprays on each side, the tip of the hilt in a v-shape design
also gem set, watered-steel blade, later associated wooden scabbard with
gilt copper fttings
14⅞ ins. (27.8 cm.) long; scabbard 11 ins. (28 cm.) long

PROVENANCE:
Christie’s, London, 26 April 2012, lot 299

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp.28-29
Grand Palais, Paris 2017, p.108, no.80
The Doge’s Palace, Venice 2017, p.137, no.84
The Palace Museum, Beijing 2018, pp.160-61, no.88

LITERATURE:
Jafer 2013, p.92, no.5

The emperor Jahangir is seen wearing a dagger with such a pommel in two
paintings from the Windsor Padshahnama (RCIN 1005025, f. 43b and 192b).
The second of these paintings shows a dagger also inlaid with a ruby at the centre
of the guard. The facetted guard fnds a direct comparable in the hilt seen on a
dagger at The Hermitage, St Petersburg (Amsterdam, 1999, p. 283, cat. 286).

372
373
262
A GOLD GEM SET HILTED DAGGER (KINJAL)
TANJORE OR MYSORE, SOUTH INDIA,
1790-1810

The hilt in the form of a yali, set with diamonds,


rubies and emeralds, steel blade
13⅜ ins. (34.1 cm.) long

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p.55
Grand Palais, Paris 2017, p.172, no.131
The Doge’s Palace, Venice 2017, p.200, no.134
The Palace Museum, Beijing 2018, p.223, no.138
de Young Legion of Honor, San Francisco 2018,
p. 106, no. 45

LITERATURE:
Jafer 2013, p.191, no.65

The hilt of this impressive gem set dagger is in


the form of a yali, a fearsome mythical beast. It is
a well-known motif in the architecture of southern
India, also used for smaller furniture fttings in ivory
and wood, and often seen on the hilts of weapons
(Paris 2017, p.172). A comparable 17th century dagger
from Tanjore, with a chiselled iron grip and pommel
modelled as a yali is published in Hales, 2013,
cat.162, p.76. Another comparable sword hilt, dated
to the 17th or 18th century from the private collection
of the Raja of Tanjore is illustrated in Elgood, 2004,
cat.8.64, p.99.

The gem settings on the dagger, particularly the


emeralds on the back of the yali’s neck and the
rubies on the grip of the hilt, have been compared
to the settings seen on the tiger-head fnials of Tipu
Sultan’s throne (see Lot 203) suggesting a broadly
similar dating for this dagger (Jafer 2013, p.191).

374
IMAGES OF REDUCED SIZE
376
377
263
A CEREMONIAL SWORD OF
THE NIZAM OF HYDERABAD
HYDERABAD, CENTRAL INDIA, 1880-1900

Inscribed steel blade, gold hilt set with diamonds,


rubies and emeralds often mounted in silver
38¾ ins. (98.5 cm.) long; hilt 9¼ ins. (23.5 cm.)

PROVENANCE:
Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp.84-85
Victoria and Albert Museum, London 2015, p.115,
no.64
The Miho Museum, Koka 2016, p.141, no.106
Grand Palais, Paris 2017, pp.266-67, no.198
The Doge’s Palace, Venice 2017, p.283, no.194
The Palace Museum, Beijing 2018, pp.298-99,
no. 198
de Young Legion of Honor, San Francisco 2018,
p. 131, no. 64

LITERATURE:
Jafer 2013, pp.230-32, 233, 273, no.94

Ceremonial swords such as this example often


symbolized power and military prowess during royal
processions or while holding a durbar. They also
signifed the presence of a ruler by being placed on
the throne. They were also used in the royal courts
to solemnize a wedding ceremony, by standing in for
the absent groom. This sword follows the Mughal
tradition of encrusted edged weapons, although the
form of the hilt is strongly infuenced by European
small-swords which were fashionable in 19th century
Europe. The manufacture and design is typical
of South India, most probably Hyderabad, where
lavishly decorated swords were popular in the late
nineteenth century.

An almost identical sword is known to have existed


in the Asaf Jah treasury which is documented in a
black and white photograph taken by King Kothi, on
29 March 1951 (Jafer, 2013, p.273).

For another gem set ceremonial sword in this sale


see lot 245.

378 IMAGES OF REDUCED SIZE


379
264
'THE NIZAM OF HYDERABAD NECKLACE'
AN ANTIQUE DIAMOND, EMERALD AND ENAMEL NECKLACE

Triangular-shaped table-cut diamonds, variously-shaped faceted and


rose-cut diamonds, carved emerald bead, green enamel, foil, gold,
engraved on the reverse with foliate motif, 16 ins., mid to late 19th century

PROVENANCE:
By repute, Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp. 86-87
Victoria and Albert Museum, London 2015, p. 107, no. 58
The Miho Museum, Koka 2016, p. 119, no. 86
Grand Palais, Paris 2017, p. 251, no. 186
The Doge’s Palace, Venice 2017, p. 264, no. 182
The Palace Museum, Beijing 2018, p. 284, no. 186
de Young Legion of Honor, San Francisco 2018, p. 128, no. 61

LITERATURE:
Jafer 2013, p. 205, ill. 270-71, no. 87

The eight large diamonds set in this impressive necklace each have an estimated
weight of 10.00 to 15.00 carats. The modifed brilliant-cut of these diamonds
refect the advancement of gem faceting in India. Additionally, the openwork
setting and symmetrical nature of the necklace's design is the direct result
of Western infuence.

380
381
265
AN ENAMELLED AND DIAMOND-SET STAFF
INDIA, 19TH CENTURY

With fower and parrot fnial, the candy-striped


staf made in two pieces, end piece missing
13 ins. (33 cm.) long

PROVENANCE:
By repute, Maharajas of Indore

382 IMAGE OF REDUCED SIZE


266
ENAMELLED GOLD FITTINGS FROM
A STAFF OR ROD
NORTH INDIA, CIRCA 1650

Tip in the shape of a parrot head, decorated in


green, red, white, yellow and black enamels,
with modern rock-crystal mount
Upper section 3¼ ins. (8.3 cm.) long; lower section
1¾ ins. (4.5 cm.) long

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.84, no.54
Grand Palais, Paris 2017, p.151, no.113
The Doge’s Palace, Venice 2017, p.181, no.119
The Palace Museum, Beijing 2018, p.207, no.123
de Young Legion of Honor, San Francisco 2018,
p. 101, no. 41

Stafs of this kind were often carried by senior


oficials at the Mughal court. Royal paintings such as
folio 43b in the Windsor Padshahnama dated to circa
1635 includes a similar example (Beach, Koch and
Thackston, 1997, no. 5, pp. 28-29). The delicate foral
motifs in basse-taille enamelling are representative
of both the architectural decorations and illustrated
borders with similar patterns dating from the frst
half of the seventeenth century.

Parrots hold a strong symbolic presence in both


Persian and Mughal arts. By the 16th century, they
were already, from centuries earlier, associated with
Indo-Persian storytelling and literary eloquence. They
were a symbol that would have been recognised by
any cultured person in Mughal India, the Deccan
Sultanates and Safavid Iran. The Tutinama (Tales
of the Parrot) which is a 14th century Persian series
of stories was an extremely popular text in the
Mughal court. A lavish illustrated copy including
250 illustrations was commissioned by the Mughal
Emperor Akbar at the end of the 16th century.

The central section is set with a modern


rock crystal mount.

IMAGE OF REDUCED SIZE 383


267
A CARVED EMERALD

Half moon-shaped carved emerald of 10.51 carats,


20.76 x 14.45 x 6.06 mm, 17th or 18th century
AGL, 2019, report no. 1100341: 10.51 carats,
Colombia, insignifcant clarity enhancement,
traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 43, no. 16
(actual size) The Doge’s Palace, Venice 2017, p. 65, no. 22
The Palace Museum, Beijing 2018, p. 78, no. 23
de Young Legion of Honor, San Francisco 2018,
p. 172, no. 20

384
268
A CARVED EMERALD SPOON HEAD

Carved emerald bowl of a spoon of 16.48 carats,


24.36 x 19.46 x 7.00 mm, late 17th to early
18th century
AGL, 2019, report no. 1100332: 16.48 carats,
Colombia, insignifcant clarity enhancement,
traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 47, no. 28 (actual size)
The Doge’s Palace, Venice 2017, p. 64, no. 21
The Palace Museum, Beijing 2018, p. 77, no. 22

385
269
A CARVED EMERALD

Oval-shaped carved emerald of 10.05 carats, 19.25 x 12.10 x 5.42 mm,


17th or 18th century
AGL, 2019, report no. 1100343: 10.05 carats, Colombia,
no clarity enhancement

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 43, no. 15
The Doge’s Palace, Venice 2017, p. 65, no. 23
The Palace Museum, Beijing 2018, p. 78, no. 24
de Young Legion of Honor, San Francisco 2018, p. 171, no. 19

(actual size)

386
387
270
AN EMERALD, DIAMOND AND GOLD RING, BULGARI

Oval-shaped step-cut emerald, circular-cut diamonds, 18k gold, ring size 6,


signed Bulgari, engraved emerald 17th century
AGL, 2019, report no. 1100349: Colombia,
insignifcant clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 154, no. 98
The Doge’s Palace, Venice 2017, p. 355, no. 246
The Palace Museum, Beijing 2018, p. 360, no. 246

INSCRIBED:
O God Most High, You are righteous,
You send us six things as help,
Knowledge, work and generosity,
faith, security and health, 129

(actual size)

388
271
AN ART DECO DIAMOND AND COLORED DIAMOND
BROOCH, CARTIER

Orange-brown circular old-cut diamond, old-cut diamonds, platinum


and 18k white gold (French marks), 2½ ins., circa 1920, signed Cartier,
Paris, workshop mark (Henri Lavabre), green Cartier case
GIA, 2019, report no. 2205210851: Identifcation and Origin Report,
Colored Diamond, Natural Color

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 329, no. 243
The Doge’s Palace, Venice 2017, p. 322, no. 221
The Palace Museum, Beijing 2018, p. 335, no. 225
de Young Legion of Honor, San Francisco 2018, p. 183, no. 133

Henri Lavabre's atelier worked exclusively for Cartier between 1906 and 1921.

(actual size)

390
391
392
M A H A R AJA OF PAT I A L A

Bhupinder Singh, Maharaja of Patiala ruby, natural pearl and diamond multi-layer necklace. Worn
(1891-1938), ruled the princely state of Patiala from 1900 to in a famous portrait of the Maharaja and his many wives and
1938. Best known for his extravagant lifestyle, Bhupindar Singh consorts, Lot 272, ‘The Patiala Choker’, is a surviving portion of
believed in excess and had an insatiable appetite for women, this superb masterpiece.
food, travel, sports, politics and every day luxuries. Legend tells
that he had a motorcade of over twenty Rolls-Royce, which As with many jewels from the 1920s and 1930s, the necklace
would transport the Maharaja along with his countless wives, was eventually reset and restyled to adapt to evolving trends.
aides, servants and staf, when traveling in Europe. In 2012, the necklace was restored and restrung to its original
design by Cartier Tradition. Considered by the frm to be one of
Bhupindar Singh was born into a family accustomed to the most important necklaces ever made, the ‘Patiala Choker’
over-indulgence and expenditure. His father, Rajendra Singh represents one of the greatest relationships that developed
(1872-1900) was even more gluttonous with his spending than during this period and truly captures the romance between the
his son. Often traveling to Europe to acquire new treasures, he East and West in the early part of the 20th century.
was the frst Maharaja to marry a European woman and the frst
to import a motor car to India – specifcally a French De Dion-
Bouton with the license plate ‘Patiala 0’.

When Rajendra Singh died in 1900, a council of regency took


over the state as Bhupindar Singh was only nine years old
at the time. Spoilt beyond belief, the young Maharaja
enjoyed the same luxuries that his father did, inheriting some of
the most incredible jewels of the time, including the De Beers
yellow diamond of approximately 234.50 carats – which he later
had mounted by Cartier and a grand Western style
diamond-set tiara.

A key patron to English and French luxury frms during the


early 20th century, the Maharaja of Patiala was a frequent
client of Asprey, Boucheron, Cartier, Garrard and many others.
Heir to a treasury of the fnest gemstones and diamonds,
the Maharaja brought truckloads of jewels and stones for the
frms to work with.

In the mid-1920s, the Maharaja supplied Cartier with countless


gemstones from his treasury to be reset and redesigned. He
preferred platinum over gold and requested jewels be made for
opposite: Sir Bhupinder Singh,
Maharaja of Patiala, with mem- himself as well as his many wives and concubines.
bers of his family Bhupinder Singh, Maharaja of Patiala (1891 - 1938), 1911.
One of the most impressive jewels to derive from the From the photo of Carl Vandyk.
© National Portrait Gallery,
London collaboration between Cartier and Patiala was an incredible © Costa / Bridgeman Images

393
272
'THE PATIALA RUBY CHOKER'
AN ART DECO RUBY, DIAMOND AND NATURAL PEARL
CHOKER NECKLACE, CARTIER

Ruby beads, oval cabochon and circular-cut rubies, old and single-cut
diamonds, natural pearls, platinum (French marks), 13 ins., 1931, restored and
restrung by Cartier Tradition in 2012, signed Cartier, 'Paris, Made in France',
no. HSA40139, red Cartier case
Cartier, 2012: Certifcate of Authenticity, with appendix

PROVENANCE:
Maharaja Bhupinder Singh of Patiala (1891-1938)
Christie's, Geneva, 17 May 2000, lot 417

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2009, pp. 76-77
Metropolitan Museum of Art, New York 2014, pp. 108-9
Victoria and Albert Museum, London 2015, p. 138, no. 81, fg. 63
The Miho Museum, Koka 2016, p. 198, no. 158
Grand Palais, Paris 2017, p. 314, no. 230
The Doge’s Palace, Venice 2017, p. 331, no. 230
The Palace Museum, Beijing 2018, p. 342, no. 234
de Young Legion of Honor, San Francisco 2018, p. 146, no. 76

LITERATURE:
Jafer 2006, p. 77
Jafer 2013, p. 322, no. 114

opposite: Three necklaces executed in ru-


bies, pearls and diamonds. Executed for the
Maharanee of Patiala, here shown on a wax
mannequin. Cartier Paris, 1931. Autochrome
plate. 30,5 x 25,5 cm. Inv. Autochrome/49R

Archives Cartier Paris © Cartier

394
395
2 SALE TITLE
3
273
A DIAMOND

Cut-cornered rectangular portrait-cut diamond of 20.22 carats


GIA, 2015, report no. 1176200206: 20.22 carats, J color, VS2 clarity, Type IIa

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 49, no. 11
The Miho Museum, Koka 2016, p. 26, no. 3
Grand Palais, Paris 2017, p. 34, no. 4
The Doge’s Palace, Venice 2017, p. 45, no. 1
The Palace Museum, Beijing 2018, p. 50, no. 1
de Young Legion of Honor, San Francisco 2018, p. 46, no. 1

Portrait diamonds, also called lasques, are among the earliest cut diamonds
preserved to this day. Extremely shallow, they consist of virtually nothing but two
tables separated by a tiny row of girdle facets. They were sometimes used to
cover miniature paintings and therefore came to be known as portrait diamonds.
Due to their extreme fatness, they were unsuited for later recutting and their
original shape was preserved, making them historically signifcant. 

Large portrait diamonds are extremely rare and among few famous examples
is one seen on a portrait of Shah Jahan from 1616, where he holds a turban
ornament set with an emerald and a portrait diamond or the ‘Russian Portrait
Diamond’, dating around 1820, covering a miniature portrait of
Czar Alexander I in a bracelet.

The present diamond also exhibits a feature common in gems shaped for Mughal
use, a pair of drilled holes by which a stone could be sewn to a turban or garment
to impart both pomp and courtly fashion.

(actual size)

Portrait of Prince Khurran, later Shahbuddin Mohammed Shah


Jahan, Mughal Emperor of India, holding a turban ornament or jewel,
India, c. 1616

The turban ornament most likely set with a portrait-cut diamond


similar to Lot 273

© Victoria and Albert Museum, London

396
274
AN ART DECO EMERALD, DIAMOND AND
ENAMEL BROOCH, CARTIER

Hexagonal carved emerald of 88.03 carats, circular cabochon carved emerald


of 15.65 carats, oval cabochon emeralds, square and old-cut diamonds, black
enamel, platinum and 18k white gold (French marks), 2⅝ ins., 1927,
signed Cartier, 'Made in France,' no. 02553
Cartier, 2011: Certifcate of Authenticity
AGL, 2019, report no. 1100318: Central 4 Emeralds, Colombia,
insignifcant to minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Paris 2013, p. 223, no. 308b
Metropolitan Museum of Art, New York 2014, pp. 106-7
Victoria and Albert Museum, London 2015, p. 132, no. 78
The Miho Museum, Koka 2016, p. 187, no. 148
Grand Palais, Paris 2017, p. 323, no. 238
The Doge’s Palace, Venice 2017, pp. 320-21, no. 219
The Palace Museum, Beijing 2018, p. 333, no. 223
de Young Legion of Honor, San Francisco 2018, p. 140, no. 71

LITERATURE:
Rudoe 1997, p. 319, no. 270
Jafer 2013, p. 320, no. 112

As seen in the sketch below, this brooch was originally executed with pearls,
carved emeralds and diamonds. It was displayed at the the 1925 Exposition des
Arts Décoratifs and was later reworked by Cartier in 1927 to the current design.

Vitrine at the 1925 Exhibition of Modern Indus- Design for a brooch. Cartier Paris, 1925. Executed in
trial and Decorative Arts in Paris, displaying the platinum, pearls, enamel, emeralds and diamonds.
(actual size) Berenice set: the shoulder necklace and tiara. Displayed at the international exhibition of modern
industrial and decorative arts, held in Paris in 1925.
Cartier Archives © Cartier Graphite and gouache on tracing paper. 14,8 x 12,8 cm.
Inv. ST25/05B

Archives Cartier Paris © Cartier

398
399
275
AN ART DECO EMERALD, DIAMOND, ONYX AND ENAMEL NECKLACE

Hexagonal-shaped carved emerald tablet, emerald beads, old, rose, single


and briolette-cut diamonds, faceted onyx beads, green enamel, black silk
cord, restrung at a later date, pendant 4½ ins., cord 23 ins., carved emerald
19th century, necklace circa 1925
AGL, 2019, report no. 1100337: Classic Colombia,
insignifcant clarity enhancement, traditional type
Gübelin, 2012, report no. 12070037: Colombia,
indications of minor clarity enhancement

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 125, no. 72
The Miho Museum, Koka 2016, p. 183, no. 144
Grand Palais, Paris 2017, p. 325, no. 239
The Doge’s Palace, Venice 2017, p. 311, no. 213
The Palace Museum, Beijing 2018, p. 326, no. 217

(actual size detail)

400
276
AN ART DECO SAPPHIRE AND DIAMOND BROOCH

Cushion modifed mixed-cut sapphire of 109.50 carats, circular,


single and baguette-cut diamonds, platinum, 2¾ ins., circa 1920
AGL, 2019, report no. 1100319: 109.50 carats, Classic Ceylon,
no gemological evidence of heat or clarity enhancement
Gübelin, 2013, report no. 13050015: 109.50 carats, Sri Lanka,
no indications of heating

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 91
The Miho Museum, Koka 2016, p. 130, no. 96
Grand Palais, Paris 2017, p. 289, no. 217
The Doge’s Palace, Venice 2017, p. 303, no. 209
The Palace Museum, Beijing 2018, p. 317, no. 213
de Young Legion of Honor, San Francisco 2018, p. 148, no. 78

LITERATURE:
Jafer 2013, pp. 265, 267, ill. p. 276, no. 104

(actual size)

402
403
404
DE VA N T- DE - COR SAG E

This incredible ‘devant-de-corsage’ brooch Upon his return to England, ‘Solly’ Joel was described as ‘a
is an extraordinary example of the magnifcence of the Belle sportsman and a lavish host, a patron of the theater, owner
Époque. Made-to-order for Solomon Barnato Joel in 1912, who of yachts, racing stables, and the Maiden Erleigh stud farm’.
provided Cartier with his four best diamonds, it is an incredible Renowned for being a very generous man, he purchased
combination of top diamonds, a delicate design, remarkable the frst motorised ambulance for the Royal Berkshire Hospital
make and famous provenance. and gave the Sol Joel Park, in Earley, to the Corporation of
Reading in 1927.
Born in England in 1865, Solomon Barnato Joel made his fortune
in the South African diamond mines within less than ten years. His vast wealth, generosity, passion for diamonds, horse races
Together with his two brothers Jack and Woolf, Solomon had and theatre built his legend and the present ‘devant-de-corsage’
joined his uncle, Barney Barnato, on the Kimberley diamond brooch embodies his love for exceptional jewels.
felds and they were the frst to reach the Rand mines after the
discovery of gold. Upon his uncle’s passing in 1897, ‘Solly’, as he The brooch is a great example of the subtle and delicate ‘serti
was known in the family, succeeded him as a director of Barnato muguet’ (Lily-of-the-Valley setting) used by Cartier at the time
Brothers as well as of De Beers Consolidated Diamonds Mines, and mastered by their famous workshop ‘Atelier Henri Picq’. It is
for nearly 30 years. His infuence on the diamond and unmistakably one of the most stunning jewels of the
gold industry at the beginning of the 20th Century was Belle Époque period.

opposite:
signifcant and he retained his fascination with diamonds
©Denis Hayoun / Diode SA. throughout his long career.

405
277
A BELLE ÉPOQUE DIAMOND
DEVANT-DE-CORSAGE BROOCH, CARTIER

Pear brilliant-cut diamond of 34.08 carats, oval brilliant-cut diamond of 23.55


carats, modifed marquise brilliant-cut diamond of 6.51 carats, heart modifed
brilliant-cut diamond of 3.54 carats, Lily-of-the-valley old-cut diamond links,
platinum and 18k white gold (French marks), 7½ ins., 1912, signed Cartier,
accompanied by a later added unsigned double-row Lily-of-the-valley
necklace of 15½ ins.
GIA, 2013, report no. 2155827220: 34.08 carats, E color, VS1 clarity, Type Ia
GIA, 2013, report no. 2155827320: 23.55 carats, D color, VVS2 clarity,
potentially Internally Flawless, Type IIa
GIA, 2013, report no. 2155827783: 6.51 carats, D color, VS1 clarity, Type IIa
GIA, 2013, report no. 5151827771: 3.54 carats, E color, VS2 clarity, Type Ia

PROVENANCE:
Solomon Barnato Joel (1865-1931)
Private Collection
Christie's, Geneva, 16 May 1991, lot 327
Private Collection
Christie's, Geneva, 14 May 2014, lot 259

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 128, no. 74
The Miho Museum, Koka 2016, p. 182, no. 143
Grand Palais, Paris 2017, p. 297, no. 220
The Doge’s Palace, Venice 2017, p. 310, no. 212
The Palace Museum, Beijing 2018, p. 324, no. 216
de Young Legion of Honor, San Francisco 2018, p. 182, no. 125

LITERATURE:
Cologni and Nussbaum 1995, pp. 100-101
Nadelhofer 2007, pp. 44-45
Hue-Williams and Sancroft-Baker 2016, p. 29

Solomon Barnato Joel by Bassano Ltd.,


original owner of Lot 277

© National Portrait Gallery, London

406
278
THE BARODA PEARL CANOPY
BARODA, CIRCA 1865-1870

The cloth embroidered with pearls, colored glass beads, and diamonds,
rubies, sapphires and emeralds set in silver and gold, backed
47¼ ins. (120 cm.) diam.

PROVENANCE:
Commissioned by Maharaja Khanderao Gaekwad of Baroda;
thence by descent to Maharani Sita Devi of Baroda
Private Collection, 1985
Sotheby’s, New York, 24 March 2011, lot 105

EXHIBITED AND CATALOGUED:


Delhi Exhibition, Delhi 1903, pp.444-469
Victoria and Albert Museum, London 2009, pp.163-165, no.138
Kunsthalle der Hypo-Kulturstiftung, Munich 2010, pp.164-64, no.138
The Miho Museum, Koka 2016, pp.142-43, no.107
Grand Palais, Paris 2017, pp.276-77, no.207
The Doge’s Palace, Venice 2017, pp.288-89, no.200
The Palace Museum, Beijing 2018, pp.304-05, no. 204

LITERATURE:
Birdwood 1878, p.110
Birdwood 1884, p.3770
Kunz and Stevenson 1908, pp.460-61
Weeden 1911, pp.311-12
Sergeant 1928, pp.91-0
Tottenham 1934, pp.154-55
Welch 1985, pp.437-38
Prior and Adamson 2000, pp.101-02
Jafer 2013, p.211, no.86

Composed of approximately 950,000 precious ‘Basra pearls’, emeralds,


sapphires, rubies and colored glass beads in elaborate foral arabesques, this
exquisite pearl canopy is a true testament to the sophistication and grandeur of
the courts of the maharajas. It is one of only two surviving pieces of the renowned
fve-part suite of carpets commissioned by the maharaja of Baroda, Khande Rao
Gaekwad (r. 1856-1870), reputedly intended to adorn the tomb of the Prophet
Muhammad in Medina. The unparalleled craftsmanship of this canopy bears
witness to the fourishing pearl-trade between the Arabian Gulf and India, which
reached its golden age in the mid-nineteenth century. At that time, the highest
quality pearls were sold in Basra to the Indian elite where they adorned lavish
jewelers and textiles, used here in an astonishing quantity.

Even the earliest accounts of this textile stress the striking visual efect of the
abundant jewels and pearls. Among them, George Birdwood wrote, around a
decade after its production, “when spread out in the sun it seemed sufused with
a general iridescent pearly bloom, as grateful to the eyes as were the exquisite
forms of its arabesques." (Birdwood, 1884, p.284) The only other surviving piece
from this magnifcent carpet was acquired by Qatar Museums at Sotheby’s, Doha,
19 March 2009, lot 401.

(detail)

408
IMAGE OF REDUCED SIZE
279
AN ANTIQUE DIAMOND
AND MULTI-GEM JIGHA

The turban ornament set with a rectangular-shaped


rose-cut spinel, table-cut diamonds, emerald bead,
cabochon spinels and rubies, red, white, green and
blue enamel, gold, enamel and plume holder at the
reverse, 8⅞ ins., 18th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp. 58-59
The Miho Museum, Koka 2016, p. 109, no. 77
Grand Palais, Paris 2017, pp. 216-17, no. 159
The Doge’s Palace, Venice 2017, pp. 236-37, no. 161
The Palace Museum, Beijing 2018, p. 259, no. 165
de Young Legion of Honor, San Francisco 2018,
p. 118, no. 53

LITERATURE:
Jafer 2013, p. 73, ill. p. 104, no. 33

Turban ornaments were reserved for members


of the ruling family and those closest to them at the
Mughal court. This example of a turban ornament
is designed as a stylized feather, which was made
popular by Jahangir.

(reverse)

410
280
AN ANTIQUE JADE, DIAMOND AND MULTI-GEM JIGHA

The turban ornament of white jade, variously-shaped table-cut rubies and


spinels, pear and rectangular-shaped table-cut diamonds, pear-shaped
table-cut emeralds, pearl drop, green enamel bead, foil, gold, jade engraved
and carved with a plume holder at the reverse, 7¾ ins, 18th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p.6
The Miho Museum, Koka 2016, p. 123, no. 90
Grand Palais, Paris 2017, p. 221, no. 163
The Doge’s Palace, Venice 2017, p. 234, no. 160
The Palace Museum, Beijing 2018, p. 258, no. 164
de Young Legion of Honor, San Francisco 2018, p. 179, no. 95

LITERATURE:
Jafer 2013, p. 74, ill. p. 104, no. 34

Jade turban ornaments are rare. It has been recorded that Emperor Aurangzeb
had given one to a courtier in 1673. Two other known examples are currently on
display at the State Hermitage Museum in St. Petersburg.

412
281
AN ANTIQUE SPINEL, RUBY AND DIAMOND SARPECH

The turban ornament set with spinel beads, circular ruby cabochons,
rounded and mixed-shape table-cut diamonds, diamond taveez beads, foil,
gold and silver, 7⅞ ins., mid to late 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 66
The Miho Museum, Koka 2016, pp. 128-29, no. 95
Grand Palais, Paris 2017, p. 231, no. 171
The Doge’s Palace, Venice 2017, p. 249, no. 170
The Palace Museum, Beijing 2018, p. 268, no. 174
de Young Legion of Honor, San Francisco 2018, p. 122, no. 55

LITERATURE:
Jafer 2013, p. 215, ill. p. 271, no. 89

INSCRIBED:
On two of the spinels: 12 Shah Jahan [son] of Jahangir Shah 1049

414
416
I M P E R I A L SP I N E L S

Jahangir Shah [son of] Akbar Shah Jahangir Shah [son of] Akbar Shah Sahib Qiran-i thani 1043 [regnal year]
(Jahangir) 1016 (Jahangir 1608-9 AD) 6 (Shah Jahan 1633-4 AD)

Alamgir Shah 1070 Jahangir Shah [son of] Akbar Shah 04 Jahangir Shah [son of] Akbar Shah
(Aurangzeb 1659-60 AD) (part polished away) 1017 (Jahangir 1609-10 AD)
(Jahangir. Date uncertain)

Probably [A]lamgir Shah ibn Jahangir Shah [son of] Akbar Shah Ahmad Shah [son of] Durduran 1168
[son of] Shah Jahan 1071 (part polished away) (Jahangir) (Ahmad Shah Durrani 1754-5 AD)
(Aurangzeb 1660-61 AD)

Alamgir Shah [son of] Shah Jahan


(Aurangzeb) ©Denis Hayoun / Diode SA.

417
282
AN ANTIQUE IMPERIAL SPINEL, PEARL AND EMERALD NECKLACE

Seven tumbled spinel beads, pearls, pear-shaped cabochon emerald drop,


gold, 20½ ins., spinel beads from the 17th century, restrung at a later date
SSEF, 2014, report no. 73623: 7 Spinels, Tajikistan,
no indications of any treatment

PROVENANCE:
Christie's, Geneva, 14 May 2014, lot 177

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, pp. 40-41, no. 36
The Miho Museum, Koka 2016, p. 74, no. 45
Grand Palais, Paris 2017, p. 59, no. 41
The Doge’s Palace, Venice 2017, p. 78, no. 35
The Palace Museum, Beijing 2018, p. 90, no. 36
de Young Legion of Honor, San Francisco 2018, p. 60, no. 11

INSCRIBED:
Bead 1
Jahangir Shah [son of] Akbar Shah (Jahangir)

Bead 2
Jahangir Shah [son of] Akbar Shah 1016 (Jahangir 1608-9 AD)
Sahib Qiran-i thani 1043 [regnal year] 6 (Shah Jahan 1633-4 AD)
Alamgir Shah 1070 (Aurangzeb 1659-60 AD)

Bead 3
Jahangir Shah [son of] Akbar Shah 04 (part polished away)
(Jahangir. Date uncertain)

Bead 4
Jahangir Shah [son of] Akbar Shah 1017 (Jahangir 1609-10 AD)

Bead 5
Probably [A]lamgir Shah ibn [son of] Shah Jahan 1071 (Aurangzeb 1660-61 AD)

Bead 6
Jahangir Shah [son of] Akbar Shah (part polished away) (Jahangir)

Bead 7
Ahmad Shah [son of] Durduran 1168 (Ahmad Shah Durrani 1754-5 AD)
Alamgir Shah [son of] Shah Jahan (Aurangzeb)

Mughal Emperors were captivated by regal red spinels, also called ‘ballas rubies’.
Spinels were the gemstone of choice to carry imperial titles, as important
as rubies or emeralds. Mughal Emperors were known to have their best and
largest stones inscribed with their names. Calligraphy was the highest art of the
Islamic courts and its practitioners were the most renowned artists. The best
calligraphers were tasked with these engravings.

418
419
283
A CARVED EMERALD

Octagonal-shaped tabular carved emerald of 84.63 carats, with protruding


lugs on two opposing sides, 32.45 x 33.95 x 7.85 mm, mid 17th century
AGL, 2019, report no. 1100331: 84.63 carats, Colombia,
insignifcant to minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2009, pp. 54-55, no. 18
The Miho Museum, Koka 2016, p. 167, no. 129
Grand Palais, Paris 2017, p. 45, no. 22
The Doge’s Palace, Venice 2017, p. 56, no. 9
The Palace Museum, Beijing 2018, p. 67, no. 10
de Young Legion of Honor, San Francisco 2018, p. 54, no. 6

The exceptional purity, color and saturation of this emerald indicates that it likely
belonged to a royal family. The lugs on opposing sides suggest that it was strung
around the arm or worn as a turban ornament.

(actual size)

420
421
284
A CARVED AND INLAID MARBLE QUR’AN STAND
NORTH INDIA, 19TH CENTURY

In damascened steel frame


15⅜ ins. (39 cm.) high

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 69, no. 41

422 IMAGE OF REDUCED SIZE


285
AN OCTAGONAL ENAMELLED AND GEM
SET GOLD MINIATURE QUR’AN CASE
LUCKNOW OR DECCAN, 1750-1800

Set with diamonds and an engraved spinel,


the interior in plain gold, lid attached on one side,
two suspension loops on the top
1⅝ x 1½ x ⅝ ins (4.2 x 3.8 x 1.5 cm.)

PROVENANCE:
Bonhams, London, 2 October 2012, lot 243

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p.191, no.128
The Palace Museum, Beijing 2018, pp.216-17,
no.132
(alternate view)
INSCRIBED:
On the spinel: ‘Allah, Muhammad, ’Ali, Fatima,
Hasan, Husayn’
On each rock crystal around the spinel: ‘Allah’
On the base: the bismillah and the nada
‘ali quatrain

423
286
AN OVAL CORNELIAN AMULET
INDIA, CIRCA 1700

Inscribed with Shi'a poetry in praise of Imam 'Ali


1⅛ ins. (3.3 cm.) wide

286

287
AN OVAL GEM SET JADE AMULET
INDIA, 17TH/18TH CENTURY

Arabic inscription set with rubies, the reverse


decorated with a four petal emerald fower
with a central diamond
287
1 in. (2.1 cm.) wide

INSCRIBED:
Qur'an XI, sura al-hud, part of v.88: wa ma tawfqi
ila billah, 'and my success is only with Allah.'

This beautiful ruby inlaid jade seal bears a popular


extract from Qur'an XI, sura al-hud, part of v.88.
This extract is often used on seals as a talismanic
feature which would bring success and victory to
its owner. The use of precious stones in jade seals
to highlight a calligraphic text is extremely rare. The
fact that the reverse of this seal is also gem set with
a central fower indicates that it was to be mounted
with the back visible. The delicacy of the inlay here is
comparable to lot 84, a ruby inlaid jade dagger with
tiger-stripe (bubri) pattern in this sale.

424
288
AN ENAMELED GOLD MOUNTED SULEIMANI AGATE AMULETIC ARMBAND
LAHORE OR JAIPUR, EARLY 19TH CENTURY, THE AGATE EARLIER

The reverse enameled with a falcon attacking a bird on blue ground


1½ in. (3.9cm.) high; 2⅝in. (6.9cm.) across

LITERATURE:
Jafer 2013, p.196, no.78

In the note on this amulet Amin Jafer notes the similarity of the setting to that of the original setting of the
Koh-i-Noor diamond, made in Lahore in around 1818. A similar mounted agate is in the Al-Sabah Collection
(inv.no.LNS753J). It is almost certain however that our agate amulet itself is considerably earlier. A very
similar stone, that had been drilled for suspension, was said to be from the Indus valley civilisations (Hoare,
2017, no.244)[i]. Further very similar stones have been associated with the Bactrian, Urartian and Sumerian
kingdoms, unfortunately few with in documented archaeological contexts. The use of these stones through
the eastern classical world is without doubt, and it seems very probable that our amulet represents the
re-mounting of a far older agate.

425
289
A CARVED EMERALD, RUBY AND GOLD
HINDU SAINT PENDANT

Depicting a Hindu saint, carved emeralds, Surviving carved gemstone fgures such as
cabochon ruby, gold, modern mounting of 18k gold, Lot 289 and 290 are rare. These two examples
¾ in., original emerald pendant early 17th century display intricate carvings which are a testament to
the refned lapidary skills of Indian jewelers during
SSEF, 2011, report no. 61234: Colombia,
the 17th and 18th centuries.
moderate clarity enhancement, oil
Lot 290, a carved sapphire fgure of a Hindu saint,
formerly in the Rothschild Collection, is dated to the
PROVENANCE: 18th century bears similarities to Lot 289, however,
(actual size) Lord Glenconner (1926-2010) the Glenconner fgurine has a fat back, indicating
that it was at one time laid into a larger setting.
Bonhams, London, 28 September 2011, lot 145

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 171, no. 133
Grand Palais, Paris 2017, p. 203, no. 153
The Doge’s Palace, Venice 2017, p. 87, no. 44
The Palace Museum, Beijing 2018, p. 100, no. 45
de Young Legion of Honor, San Francisco 2018,
p. 172, no. 31

426
290
A CARVED SAPPHIRE HINDU SAINT

Depicting a Hindu saint, carved sapphire of


37.82 carats, 1⅛ in., 18th century

PROVENANCE:
Rothschild Collection

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 28, no. 5
Grand Palais, Paris 2017, p. 202, no. 152
(actual size)
The Doge’s Palace, Venice 2017, p. 86, no. 43
The Palace Museum, Beijing 2018, p. 98, no. 44

LITERATURE:
González-Palacios 1981, pp. 296-97, no. 142
Spink 1988, pp. 64-65, no. 49

427
291
AN ANTIQUE DIAMOND AND ENAMEL RING

Knob-cut diamonds, black and white enamel ‘knob-cut’ diamonds and a 17th century seven-stone
on reverse and shank, foil, gold, ring setting. The ‘knob-cut’ was a development of
ring size 5¼, 17th century the classic pyramidal-cut by eliminating the main
point and replacing it with a very small table. This
particular cut was popular in Europe from 14th
to 17th century. It was sometimes referred to as
EXHIBITED AND CATALOGUED:
‘nail-cut’, in some inventories, as the crown looked
Tokyo Metropolitan Teien Art Museum, Tokyo like the head of an antique nail. Very few ‘knob-cut’
2003, p. 57 diamonds have survived as eventually, most of them
The Miho Museum, Koka 2016, p. 24, no. 1 were re-fashioned into ‘table cut’ diamonds.
(actual size)
LITERATURE:
The ‘knob-cut’ diamonds are set in a classic
Cf. Tillander 1995, pp. 66-67
17th century ‘seven-stone’ ring. This specifc ring
Cf. Scarisbrick 2007, p. 315 setting would have three small diamonds set on
either side of a larger central stone, placed lozenge-
This ring presents two rare surviving examples of
wise. The gold ring would be engraved with foliage
or scrolls on the shoulders. The reverse of the bezels
would have been applied with black and white
enameling, sometimes fguring fowers, rosettes or
acanthus ornaments.

428
(alternate views)

292
AN ENAMELLED AND GEM SET GOLD
FIGURE OF A FEMALE SAINT
GOA OR NORTH INDIA, 1625-1660

Decorated with enamel and set with diamonds in This kundan-set gold fgure of a female saint The table-cut stones adorning this fgure are notable
gold on all sides, the fgure has a suspension loop displays the European infuence in India which for how they barely change the form of the natural
on the back above her braided hair gained popularity under Emperor Akbar. His diamond crystals. Texts as early as the sixth century
2⅛ ins. (5.4 cm.) high considerable interest in Christian iconography led such as the Ratnapariksa expressly state that the
to imperial patronage of artworks where Indian best form of diamond was in its natural octahedral
techniques were paired with Western styles and crystal form (Keene, 1981, p.24). The table-cut
forms. Artists such as Basawan and Kesu Das used here frst developed in India in the fourteenth
EXHIBITED AND CATALOGUED: century. This type of cutting supported the general
drew inspiration from Flemish and German
The Miho Museum, Koka 2016, p.56, no,30 engravings, producing spectacular copies and reluctance to grind the stone away unnecessarily
Grand Palais, Paris 2017, p.158, no,119 interpretations of Christian saints (Okada, 1992, while creating more light refection and refraction to
The Doge’s Palace, Venice 2017, p.194, no.130 pp.86-89 and p.99). However, there are very few amplify the brilliance of the stone (Stewart, 2018).
The Palace Museum, Beijing 2018, p.219, no. 134 known fgures produced in precious metals and Given the use of this type of cutting, it is likely
de Young Legion of Honor, San Francisco 2018, stones from Goa, making this an incredibly rare that the diamonds here are examples of very early
p. 99, no. 39 example of an opulent, three-dimensional work Mughal cut diamonds. For a ring of similarly cut
displaying such imagery. While the gem-settings, diamonds, see the previous lot in this sale.
INSCRIBED:
garment and hairstyle reveal an Indian origin of
In Persian ‘2 tola, 7 masha’ manufacture, the open-armed posture of the saint is
derived from Christian devotional sculpture.

429
293
A CARVED JADE BOWL
NORTH INDIA, 1700-1750

Carved from a single block of jade, the base formed in a quatrefoil fowerhead
6¾ ins. (17.1 cm.) diam.; 8½ ins. (21.6 cm.) wide with handles; 2¾ ins. (7 cm.) high

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, pp.72-72, no.29
Grand Palais, Paris 2017, p.83, no.52
The Doge’s Palace, Venice 2017, p.105, no.55
The Palace Museum, Beijing 2018, p.124-25, no.59
de Young Legion of Honor, San Francisco 2018, p. 173, no. 38

430
294
A CARVED JADE BOWL
NORTH INDIA, 18TH CENTURY

Carved from a single piece of jade, the body decorated with leaf designs in low relief,
fowerhead shaped foot
6¼ ins.(16 cm.) wide

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 50, no. 24
Grand Palais, Paris 2017, p. 84, no. 54
The Doge’s Palace, Venice 2017, p. 104, no. 54
The Palace Museum, Beijing 2018, p. 122, no. 57

431
432
The good property in Lutai (Deer Terrace Pavilion) comes from distant
lands where this cup was carefully carved and pierced by fine artisans.
The design is different from those cups of the Han dynasty as well as
from vessels of the Shang. This ladle-cup is carved from exquisite jade.
The gourd has many lobes, and flowers as well as leaves are shown.
The crooked handle is turned around to resemble a ram’s head. [This
design] is fantastic and the concept behind it is comprehensive. The
smoothness makes it easy to get close to and the nature is soft. Neither
the Dongling [jade - aventurine quartz] nor the [jade from] Guannei is
comparable. Imperially composed in the jihai year of the Qianlong reign
[1779, the 44th year of the Qianlong reign].
Qianlong Emperor (r.1735-1796, d.1799)

433
295
AN IBEX-HEADED CARVED JADE CUP
NORTH INDIA, 1660-1680

Set with ruby eyes framed in gold, silver support-ring on foot


3¼ ins. (8.4 cm.) across

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, pp.48-49, no,23
Grand Palais, Paris 2017, p.88, no.57
The Doge’s Palace, Venice 2017, p.109, no.59
The Palace Museum, Beijing 2018, pp.128-29, no.62
de Young Legion of Honor, San Francisco 2018, p. 68, no. 16

LITERATURE:
Forsyth and McElney 1994, p.413, no.350

INSCRIBED:
In Chinese: pu ‘jade in the rough’ and with the following poem.
'The good property in Lutai (Deer Terrace Pavilion) comes from distant lands
where this cup was carefully carved and pierced by fne artisans. The design
is diferent from those cups of the Han dynasty as well as from vessels of
the Shang. This ladle-cup is carved from exquisite jade. The gourd has many
lobes, and fowers as well as leaves are shown. The crooked handle is turned
around to resemble a ram’s head. [This design] is fantastic and the concept
behind it is comprehensive. The smoothness makes it easy to get close to and
the nature is soft. Neither the Dongling [jade - aventurine quartz] nor the [jade
from] Guannei is comparable. Imperially composed in the jihai year of the
Qianlong reign [1779, the 44th year of the Qianlong reign].’
The poem is no.51 in a series of poems written by the Qianlong Emperor
(r.1735-1796, d.1799) between 1756 and 1794 in praise of Mughal jades, of
which he had a large collection.

The present cup is similar to a carved jade wine cup made for the Mughal
Emperor Shah Jahan, dated to 1657, in the Victoria and Albert Museum,
London (IS.12-1962).

(actual size)

434
296
A CARVED JADE CUP
INDIA, CIRCA 1700

Flowerhead shaped foot in low relief


3 ins. (7.5 cm.) long; 2¼ ins. (5.6 cm.) wide; ⅝ in. (1.6 cm.) high

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.48, no.23
Grand Palais, Paris 2017, p.88, no.58
The Doge’s Palace, Venice 2017, p.108, no.58
The Palace Museum, Beijing 2018, p.127, no.61

436
297
A CARVED JADE CUP
INDIA, 1675-1725

The handle delicately carved with leaf patterns around the edges,
the foot carved in the shape of a fowerhead in low relief
3⅞ ins. (9.9 cm.) long; 2¾ ins. (7 cm.) wide; 1 in. (2.6 cm.) high

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.89, no.59
The Doge’s Palace, Venice 2017, pp.106-07, no. 57
The Palace Museum, Beijing 2018, p.126, no.60
de Young Legion of Honor, San Francisco 2018, p. 69, no. 17

The unusual material is possibly a rare variety of nephrite from Siberia.

437
298
A JADE SPITTOON
MUGHAL INDIA, 18TH CENTURY

Carved from a single piece of jade in the shape of a poppy seed-head,


curling foliate handle, fowerhead foot
2 ins. (5 cm.) high; 2¼ ins. (5.8 cm.) diam.

A very similar carved jade spittoon, dated to the 17th century, is in the Al-Sabah Collection, Kuwait
(LNS 243 HS; Keene and Kaoukji, 2001, no.8.13, p.98).

438
299
A DOUBLE-HANDLED CARVED JADE JAR
NORTH INDIA OR DECCAN, 1740-1780

Of globular form, fnely carved around the sides with a stripe pattern, fanked by a pair of bud shaped
handles suspended between acanthus leaves, fower-head foot
2¾ ins. (7 cm.) high, 4¼ ins. (10.6 cm.) diam.

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.51, no.25
Grand Palais, Paris 2017, p.93, no.62
The Doge’s Palace, Venice 2017, pp.100-01, no.52
The Palace Museum, Beijing 2018, p.115, no,53

439
300

300 301
(reverse)

300 301
A CARVED JADE DISH A CARVED JADE BELT-HOOK
NORTH INDIA, CIRCA 1700-1740 NORTH INDIA, 18TH CENTURY

Extremely fne body, leaf shaped handle, the Horn shaped body with a sharp point, the tip
reverse engraved with fowerhead in low relief carved in a bud shape with leaves in low relief
2¾ ins. (7 cm.) diam.; 4¾ ins. (12 cm.) long
3¾ ins. (9.6 cm.) wide with handle

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.55, no.29
Grand Palais, Paris 2017, p.86, no.56
The Doge’s Palace, Venice 2017, p.111, no.62
The Palace Museum, Beijing 2018, p.132, no.65

440
302
A JADE MIRROR FRAME
NORTH INDIA, CIRCA 1800

Carved from a single piece of jade, the back


with foral decoration in low relief
7¾ ins. (19.7 cm.) high; 2¾ ins. (6.9 cm.) wide;
⅜ in. (1.2 cm.) deep

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp.100-01, no.70
The Doge’s Palace, Venice 2017, pp.114-15, no.65
The Palace Museum, Beijing 2018, pp.136-37,
no.68

LITERATURE:
Jafer 2013, p.119. no.47

(reverse not to scale)

441
303
AN EMERALD TAVEEZ AND PEARL NECKLACE

Emerald taveez bead, pearls, restrung at a later date, gold, shortest length 21 ins. (adjustable),
emerald 18th century, pearls strung at a later date

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 53, no. 17
The Miho Museum, Koka 2016, p. 64, no. 36
Grand Palais, Paris 2017, p. 52, no. 34
The Doge’s Palace, Venice 2017, p. 73, no. 32
The Palace Museum, Beijing 2018, p. 86, no. 33

LITERATURE:
Jafer 2013, p. 382, no. 129

442
304
A PAIR OF ANTIQUE ENAMEL AND MULTI-GEM PAIZEBS

Each anklet set with lozenge and quatrefoil-shaped quartz plaques, pearls, green glass drops,
blue glass beads, red, white, green and blue enamel, foil, gold, each 9¾ ins., mid 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 68
The Miho Museum, Koka 2016, p. 151, no. 115
Grand Palais, Paris 2017, p. 241, no. 179
The Doge’s Palace, Venice 2017, p. 257, no. 176
The Palace Museum, Beijing 2018, p. 276, no. 180
de Young Legion of Honor, San Francisco 2018, p. 127, no. 60

LITERATURE:
Jafer 2013, p. 168, ill. p. 195, no. 77

IMAGES OF REDUCED SIZE 443


(alternate views)

305
AN ANTIQUE ENAMEL AND PEARL PENDANT

Drop-shaped pearl, white, red, green and blue enamel, gold on a lac core, 2⅜ ins., late 17th century

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 150, no. 112
The Doge’s Palace, Venice 2017, p. 182, no. 120
The Palace Museum, Beijing 2018, p. 208, no. 124

444
(alternate views)

306
AN ANTIQUE DIAMOND AND MULTI-GEM PENDANT

Modifed oval hollow-back cabochon sapphire, cabochon emeralds and rubies, triangular-cut diamonds,
pearl, white, red, green enamel on reverse, gold on a lac core, 1¾ ins., mid to late 19th century
AGL, 2019, report no. 1100348: Australia, no gemological evidence of heat

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 96, no. 47
The Miho Museum, Koka 2016, p. 27, no. 4
Grand Palais, Paris 2017, p. 232, no. 172
The Doge’s Palace, Venice 2017, p. 184, no. 122
The Palace Museum, Beijing 2018, p. 210, no. 126

LITERATURE:
Jafer 2013, p. 104, no. 35

445
307
AN ANTIQUE RUBY, DIAMOND AND
PEARL PENDANT

Carved rubies set as a poppy fower, pear and


cushion-shaped rose-cut diamonds, pearl drop,
foil, gold and silver, 2 ins., early to mid 18th century

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, pp. 186-87, no. 124
The Palace Museum, Beijing 2018, p. 211, no. 128

Although this pendant resembles traditional


Indian jewelry pendants, the setting of the
diamonds appears to have been infuenced by a
European jeweler or the result of Western
gem-setting techniques.

(actual size)

446
308
AN ANTIQUE COLORED SAPPHIRE,
DIAMOND, PEARL AND ENAMEL PENDANT

Octagonal-shaped step-cut yellow sapphire,


table-cut diamonds, pearl drop, foil, gold, white,
red and green enamel on the reverse, 2¼ ins.,
17th century
AGL, 2019, report no. 1100345: Yellow Sapphire,
Ceylon, no heat or clarity enhancement

PROVENANCE:
Jaipur State

EXHIBITED AND CATALOGUED:


State Museums of the Moscow Kremlin, Moscow
2014, p. 202, no. 111
(actual size reverse)
The Miho Museum, Koka 2016, p. 63, no. 35
Grand Palais, Paris 2017, p. 233, no. 173
The Doge’s Palace, Venice 2017, p. 185, no. 123
The Palace Museum, Beijing 2018, p. 211, no. 127
de Young Legion of Honor, San Francisco 2018,
p. 177, no. 79

447
309
A PAIR OF ANTIQUE DIAMOND AND ENAMEL TURBAN ORNAMENTS

Pear and triangular table-cut diamonds, variously-shaped rose-cut diamonds, briolette diamond drops,
green enamel on reverse, foil, gold on a lac core, each 2⅛ ins., 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2015, p. 332, cat. 205

448
310
AN ANTIQUE DIAMOND, EMERALD
AND RUBY NECKLACE

Variously-shaped rose and table-cut diamonds,


emerald beads, cabochon ruby, gold, 17 ins.,
mid to late 18th century

PROVENANCE:
Maharaja of Nawanagar

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, pp. 252-53, no. 187
The Doge’s Palace, Venice 2017, p. 265, no. 183
The Palace Museum, Beijing 2018, p. 286, no. 187
de Young Legion of Honor, San Francisco 2018,
p. 181, no. 111

449
311
'THE NIZAMS OF HYDERABAD SARPECH'
AN ANTIQUE DIAMOND, SPINEL, PEARL AND ENAMEL SARPECH

The turban ornament set with circular, pear and variously-shaped table-cut
diamonds, tumbled spinel beads, pearls, foil, gold on a lac core, silver, 10½ ins.,
strings each 15 ins., early to mid 19th century, restrung at a later date,
lower left spinel dated 1607-8 and 1633-34

PROVENANCE:
Nizams of Hyderabad

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp. 62-63
Victoria and Albert Museum, London 2015, pp. 104-5, no. 56
The Miho Museum, Koka 2016, p. 126, no. 93
Grand Palais, Paris 2017, p. 224, no. 166
The Doge’s Palace, Venice 2017, p. 224, no. 166
The Palace Museum, Beijing 2018, p. 264, no. 171
de Young Legion of Honor, San Francisco 2018, p. 122, no. 55

LITERATURE:
Jafer 2013, p. 161, ill. p. 194, no. 72

INSCRIBED:
Two spinels engraved:
1043 Second Lord of the Auspicious Conjunction 6
Jahangir Shah [son] of Akbar Shah 1016

Sarpech is Hindi for 'head feather' but is generally known as a turban ornament.
It was worn almost exclusively by the emperor, Indian princes and their immediate
family. Considered the ultimate symbol of royalty and sometimes used as a
reward for exceptional service to the emperor, it evolved from the tradition of
pinning a heron's feather (kalgi) to the front of a turban. Even during the reign of
Jahangir (1569-1627) a sarpech can be seen in most portraits when they were
painted in miniature. During the reign of Shah Jahan (1592-1666), sarpechs
became much more elaborate and began to be jewel encrusted. There are many
references in the Shah Nama of expensive jighas being presented to noblemen
and courtiers in recognition of deeds undertaken in the name of the emperor.

After Queen Victoria became Empress of India in 1857 no Indian Prince was
supposed to wear a crown and perhaps this explains the emergence of highly
elaborate and jeweled sarpechs with their own interpretation of royalty.

19th century sarpechs were signifcantly larger in scale. The central diamonds
in this example are mounted in silver, suggesting that this sarpech was made in
Hyderabad. Successor States suspended historic spinels inscribed with Mughal
names from their turban ornaments as trophies.

450
312
AN ANTIQUE IMPERIAL SPINEL AND PEARL NECKLACE

Tumbled spinel beads, pearls, shortest length 21 ins. (adjustable),


17th century, restrung at a later date

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, p. 43, no. 5
The Miho Museum, Koka 2016, p. 32, no. 9
Grand Palais, Paris 2017, p. 54, no. 36
The Doge’s Palace, Venice 2017, p. 77, no. 34
The Palace Museum, Beijing 2018, p. 88, no. 35
de Young Legion of Honor, San Francisco 2018, p. 172, no. 23

LITERATURE:
Jafer 2013, p. 97, no. 18

INSCRIBED:
Jahangir Shah [son] of Akbar Shah 1018
Jahangir Shan [son] of Akbar Shah 1016
Jahangir Shan [son] of Akbar Shah 1019
1044 Second Lord of the Auspicious Conjunction and Jahangir Shah
[son] of Akbar Shah

452
IMAGES OF REDUCED SIZE 453
313
A GAZELLE-HEADED GEM SET
JADE-HILTED DAGGER
NORTH INDIA, 1720-1740,
WITH LATER ADDITIONS

Set with rubies, the lower section of the hilt


19th century, watered-steel blade
10¾ ins. (27.3 cm.) long; ⅝ in. (1.4 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.115, no.87
The Doge’s Palace, Venice 2017, p.119, no.68
The Palace Museum, Beijing 2018, p.141, no.71
de Young Legion of Honor, San Francisco 2018,
p. 85, no. 29

The fne and expressive carving of this gazelle


contrasts delicately moulded eyes and cheeks with
the sculptural piercing around the horns. The more
simply treated base of the hilt was probably created
to preserve the delicately carved upper section, and
indicates that it was a highly-treasured possession.
For another example of fnely carved zoomorphic
jade, see lot 117 in the present sale.

454
314
A MUGHAL GEM SET JADE HILTED DAGGER
INDIA, 19TH CENTURY

With double edged steel blade, the pale green


pistol form hilt set with emeralds, rubies and
diamonds, with a stellar rosette and fowering
plants to the grip and ruby buds and
emerald collar to the pommel
16 ins. (41 cm.) high

LITERATURE:
Jafer 2013, p. 187, no. 54

IMAGE OF REDUCED SIZE 455


315 316

456 IMAGES OF REDUCED SIZE


315
A JADE HILTED DAGGER
MUGHAL INDIA, 18TH CENTURY

Slightly curved steel blade, pale green jade hilt


with foral motifs in low relief, swelling grip and
pronounced pommel, knuckle-guard with pierced
and carved leaf and bud-shaped fnial, inlaid with
gold wire and two rubies on each side of the rain
guard, in yellow velvet covered wooden sheath
15 ins. (38 cm.) long

316
A CARVED JADE-HILTED DAGGER
WITH SCABBARD
NORTH INDIA, 19TH CENTURY

Jade hilt with handle carved in foral decorations


in low relief, the watered-steel blade with Persian
inscription in gold on the ricasso on both sides
naming Jalal al-din Akbar Padshah Qazi,
in later wooden sheath
13 ins. (33 cm.) long

INSCRIBED:
Recto: From the treasury of the Emperor Akbar,
dated AH 925
Verso: A dedicatory inscription ofering the dagger
to Maharaja Man Singh of Jaipur

317
A JADE-HILTED DAGGER AND SCABBARD
NORTH INDIA AND OTTOMAN TURKEY,
19TH CENTURY

The carved jade hilt and locket set with rubies, the
watered-steel blade set with diamonds forming
the bismillah and inscribed in gold above, the verso
also inscribed in gold on the rain guard and along
the blade, the locket and chape on the scabbard
carved with foral motifs in low relief
17¼ ins. (44 cm.) long

INSCRIBED:
The verso with bismillah and a dedicatory verse to
'raja shah adil'
The recto with Shi'a invocations and names 317
Ardalan and Bayazid

IMAGES OF REDUCED SIZE 457


318
A GEM SET GOLD-MOUNTED DAGGER
(JAMBIYYA) AND SCABBARD
YEMEN AND INDIA, LATE 19TH CENTURY

Set with diamonds, rubies and emeralds, watered-


steel blade, the reverse only decorated with a small
number of rubies and emeralds
12½ ins. (31.8 cm.) long

PROVENANCE:
Nizams of Hyderabad
Habsburg Feldman, Geneva, 9 November 1987, lot 8
Private UK based collection, sold Christie’s,
London, 5 October 2010, lot 43

This sumptuous dagger illustrates the exchange


between the Arabic peninsula and India.  Daggers
of this design originate from the Arabian peninsula
where they indicate tribal afiliation as well as being
a social marker; the form of the hilt and sheath is
specifc to each region. It is reported that members
of a Muslim community of Hadhrami Arab descent
served in the armies of Deccani rulers. They were
referred to as Chaush, a name deriving from the
Turkish for military personnel. They also retained very
close ties with the Southern Arabian peninsula, their
homeland, continuing the Arab practice of wearing
the dagger in the waistband. A number of examples
of Indian decorated jambiyyas are known; amongst
them this is one of the most opulently decorated
of all. A less ornamented example was given by
Mahbub `Ali Khan, Nizam of Hyderabad, to Edward,
Prince of Wales on the prince’s tour of India in 1875-6
(Meghani, 2018, p.130).

458
IMAGE OF REDUCED SIZE 459
319
A GEM SET ROCK CRYSTAL BEAKER
INDIA, SECOND HALF 19TH CENTURY

Carved from a single piece of crystal, set with diamonds, rubies, emeralds, and sapphires in gold kundan,
inscribed with a Persian couplet on the base
3 ins. (7.7 cm.) high

PROVENANCE:
By repute, Nizams of Hyderabad

460
320
AN EMERALD-SET GOLD FLASK
INDIA, CIRCA 1800

With green enamelled foot and collar, the top of the stopper set with a pavé diamond,
the base covered in green enamel
2½ ins. (6.2cm.) high

461
321
AN ILLUSTRATION FROM THE ANWAR I-SUHAYLI: THE WILD BOAR SEIZES
THE MONKEY’S FRUIT
QAJAR IRAN, CIRCA 1825

Opaque pigments on paper, lines of black nasta’liq above and below


5¼ x 5⅛ ins. (13.4 x 13 cm.)

462 IMAGE OF ENLARGED SIZE


322
A HOBBLED STALLION
ATTRIBUTABLE TO GOVARDHAN,
MUGHAL INDIA, CIRCA 1600-1610

Ink, opaque pigments and gold on paper,


mounted on blue 18th century album leaf,
verso with nasta’liq quatrain mounted on pink leaf
Painting 4 x 4⅜ ins. (10 x 11.2 cm.);
folio 13⅞ x 8⅝ ins. (35.2 x 22.1 cm.)

PROVENANCE:
Collection of Mrs Lucy Strickland
Sotheby’s, London, 13 December 1965, lot 1
Sir Howard Hodgkin, C.H., C.B.E (1932-2017)
Sven Gahlin Collection, acquired in London, 1966,
sold Sotheby’s London, 6 October 2015, lot 14

EXHIBITED AND CATALOGUED:


Indian Drawing, touring exhibition catalogue,
by the Arts Council of Great Britain and
Howard Hodgkin, 1983:
London, Hayward Gallery
Wolverhampton, Wolverhampton Art Gallery
Coventry, Herbert Art Gallery
Bolton, Bolton Museum and Art Gallery
Shefield, Graves Art Gallery

LITERATURE:
Hodgkin and McInerney 1983, no.19

This drawing has been attributed by Robert Skelton


to Govardhan based on the overall naturalism of
the animal and the European infuence visible in the
handling of the saddle drapery. It can be compared
to the horses in a battle scene by Govardhan from a
manuscript of the Garshaspnama of circa 1610 (David
Collection, Copenhagen, 17/2004), see Sotheby's,
London, 28 April 2004, lot 57.

Govardhan, one of the greatest royal artists of the


Mughal period, was born at court, a 'house-born'
son of the artist Bhavanidas. His earliest works were
illustrations for manuscripts at the end of Akbar's
reign in the early years of the seventeenth century. He
moved to Allahabad with Prince Salim and continued
in the royal atelier through the reigns of Jahangir
and Shah Jahan, until around 1645. He developed a
distinctive style that was simultaneously delicate and
penetrating, with a strong interest in psychological
observation and, in later years, a mellow manner of
lighting that verges on sfumato.

(verso)

IMAGES OF REDUCED SIZE 463


323
JAHANGIR QULI KHAN
MUGHAL INDIA, CIRCA 1620

Recto with a portrait of Jahangir Quli Khan, opaque pigments on paper, identifcation inscription in
Persian on right, cream borders, mounted on cream leaf with devanagari identifcation inscription below,
verso with a nasta'liq quatrain on blue ground within cream border
Painting 4¼ x 2⅝ ins. (10.7 x 6.7 cm.); folio 14¾ x 9¾ ins. (37.5 x 25 cm.)

464 IMAGE OF ENLARGED SIZE


324
A NOBLEMAN, POSSIBLY ASAF KHAN
ATTRIBUTABLE TO BISHANDAS OR NANHA, MUGHAL INDIA, CIRCA 1610-1615

Opaque pigments and gold on paper, a courtier with a plumed turban standing with his hand resting
on a short red sword, backed on cream card
Painting 5⅝ x 2¾ ins. (14.2 x 7 cm.); folio 11⅜ x 7½ ins. (29 x 19 cm.)

PROVENANCE:
Sotheby's, London, 12 December 1966, lot 58
Sven Gahlin Collection, sold Sotheby’s, London, 6 October 2015, lot 21

IMAGES OF REDUCED SIZE 465


325
‘INAYAT KHAN HOLDING A PORTRAIT
OF A EUROPEAN SOLDIER
MUGHAL INDIA, CIRCA 1610

Opaque pigments and gold on paper,


backed on cream card
Painting 6⅜ x 3½ ins. (16.2 x 9 cm.);
folio 10¾ x 7¾ ins. (27.3 x 19.7 cm.)

PROVENANCE:
Tom Maschler Collection; sold Sotheby’s, London,
26 April 2017, lot 92

EXHIBITED AND CATALOGUED:


The Palace Museum, Beijing 2018, pp.444-45,
no.172

This painting depicts the Mughal nobleman Inayat


Khan, one of Jahangir's favorite courtiers. A very
similar portrait appears on a page in the Kevorkian
Album in the Metropolitan Museum of Art, New York
(see Welch et al 1987, no.26, and Crill and Jariwala
2010, no.16, upper right), along with three other
portraits of courtiers. The brown background of the
present work is seen in a number of portraits of the
frst decade or so of Jahangir's reign, including two
on the aforementioned Kevorkian Album page.

466 IMAGE OF ENLARGED SIZE


326
A PORTRAIT OF NAWAB ‘ASAD KHAN
INDIA, CIRCA 1650

Opaque pigments and gold on paper, verso with


several identifcation inscriptions in Persian,
English and Devanagari, inventory numbers
Painting 8⅝ x 4⅜ ins. (21.7 x 11.3 cm.);
folio 11 x 6¼ ins. (28 x 16 cm.)

INSCRIBED:
In Devanagari, Persian and English: ‘Portrait of
Nawab Asai Khan (d.1717) prime minister of the
Mughal Empire Bahadur Shah. Mughal (Delhi)
late 17th century

IMAGES OF REDUCED SIZE 467


327
A PORTRAIT OF NAWAB MUHSIN KHAN
MUGHAL INDIA,
FIRST HALF 18TH CENTURY

Opaque pigments on paper heightened with gold,


pasted on cream paper, identifcation inscription
below the fgure, plain back
Painting 10½ x 6⅜ ins. (26.5 x 16.2 cm.);
folio 15⅞ x 10⅝ ins. (40.5 x 27 cm.)

468 IMAGE OF REDUCED SIZE


328
A PORTRAIT OF KHAN ZAMAN
ATTRIBUTABLE TO BICHITR,
MUGHAL INDIA, CIRCA 1630

Opaque pigments and gold on paper,


on an album leaf, backed on cream card
Painting 8¼ x 4⅜ ins. (20.5 x 11 cm.);
folio 17½ x 11¾ ins. (44.9 x 30.2 cm.)

PROVENANCE:
Shuja al-Daula, Nawab of Awadh (r.1754-75)
Robert Clive, 1st Baron Clive, K.B. (1725-74),
Governor of Bengal, as a gift from the Nawab in
circa 1765; from the Small Clive Album,
previously on long-term loan to the
Victoria and Albert Museum, London
Christie's, London, 18 December 1968, lot 77
Sven Gahlin Collection, sold Sotheby’s, London,
6 October 2015, lot 27

EXHIBITED AND CATALOGUED:


London 1976, p. 83, no. 153

IMAGE OF REDUCED SIZE 469


329
AN EMERALD BEAD,
RUBY AND DIAMOND RING

Carved emerald bead, circular cabochon rubies,


circular-cut diamonds, white gold, ring size 7

(actual size)

470
330
AN ANTIQUE DIAMOND AND
MULTI-GEM SARPECH

The turban ornament set with variously-shaped


table-cut diamonds, rectangular and pear-shaped
spinels, rectangular-cut emeralds, spinel and
emerald beads, blue and green enamel, pearls, foil,
gold on a lac core, 6½ ins., 19th century

PROVENANCE:
Sirdar Charanjit Singh of Kapurthala (1883–1970)

Sirdar Charanjit Singh of Kapurthala (1883-1970)


was the cousin of Maharaja Jagatjit Singh of
Kapurthala. There are many portraits of the Sirdar Charanjit Singh of Kapurthala
Maharaja wearing the present sarpech. by Elliott & Fry.
© National Portrait Gallery, London

471
331
AN ANTIQUE RUBY, DIAMOND AND PEARL SARPATTI

The turban ornament set with pear-shaped cabochon and table-cut rubies,
pear-shaped table-cut diamond, ruby beads, pearls, gold, white, red and green
enameling on the reverse, 33 ins., 19th century, restrung at a later date

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 62, no. 34
Grand Palais, Grand Palais, Paris 2017, pp. 228-29, no. 170
The Doge’s Palace, Venice 2017, p. 243, no. 165
The Palace Museum, Beijing 2018, p. 262, no. 169
de Young Legion of Honor, San Francisco 2018, p. 179, no. 97

(reverse)

472
332
A PAIR OF ANTIQUE DIAMOND AND ENAMEL BRACELETS

Pear and variously-shaped table and rose-cut diamonds, white, pink and blue
enamel, foil, gold on a lac core, each 8 ins., early to mid 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 73
Victoria and Albert Museum, London 2015, p. 99, no. 53
The Miho Museum, Koka 2016, p. 121, no. 88
Grand Palais, Paris 2017, p. 239, no. 177
The Doge’s Palace, Venice 2017, p. 252, no. 172
The Palace Museum, Beijing 2018, p. 272, no. 176
de Young Legion of Honor, San Francisco 2018, p. 125, no. 58

LITERATURE:
Jafer 2013, p. 272, no. 176

474
333
AN ANTIQUE RUBY, DIAMOND AND ENAMEL BRACELET

Cabochon and table-cut rubies, table and rose-cut diamonds, green, red,
white and black enamel on reverse, foil, gold on a lac core, 7½ ins.,
mid to late 18th century

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2009, p. 153, no. 126
Kunsthalle der Hypo-Kulturstiftung, Munich 2010, p. 153, no. 126
Metropolitan Museum of Art, New York 2014, p. 72
Victoria and Albert Museum, London 2015, p. 99, no. 51
The Miho Museum, Koka 2016, p. 66, no. 38
Grand Palais, Paris 2017, p. 236, no. 175
The Doge’s Palace, Venice 2017, p. 253, no. 173
The Palace Museum, Beijing 2018, p. 273, no. 177
de Young Legion of Honor, San Francisco 2018, p. 180, no. 104

LITERATURE:
Jafer 2013, p. 162, ill. p. 195, no. 74

The enamel palette on the sides and reverse of this bracelet suggests that it
was likely made in Jaipur between 1750-1800.

476
334
AN ANTIQUE DIAMOND AND ENAMEL SARPECH

The turban ornament set with variously-shaped table-cut diamonds,


briolette-cut diamonds, blue, green, white and red enamel on
the reverse with plume holder, foil, gold on a lac core, 7½ ins., mid 19th century

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 56, ill. pp. 64-65
Victoria and Albert Museum, London 2015, pp. 94-95, no. 46
The Miho Museum, Koka 2016, p. 118, no. 85
Grand Palais, Paris 2017, p. 225, no. 167
The Doge’s Palace, Venice 2017, p. 245, no. 167
The Palace Museum, Beijing 2018, p. 263, no. 170
de Young Legion of Honor, San Francisco 2018, p. 180, no. 101

478
(reverse)

479
(verso)

335
AN ANGEL HOLDING ORB AND BOOK
PAINTING ATTRIBUTED TO ABU’L HASAN ‘NADIR AL-ZAMAN’,
MUGHAL INDIA, CIRCA 1610-15; CALLIGRAPHY SIGNED
‘ABD AL-RAHIM AL-HARAWI, DATED AH 1001/1592-93 AD
INSCRIBED:
Opaque pigments and gold on paper, verso with four lines of nasta’liq An inspection note made at Amber in an unusual combination
calligraphy reserved in clouds among gold foral sprays, signed ‘Abd al-Rahim of nasta’liq and devanagari script: 'ar 2 to 26 (I HIJJA) 1111 (1699-1700 AD)
al-Harawi and dated AH 1001/1592-93 AD Mewari royal inventory number 9 17/8; and valuation of 10 rupees
Painting 3⅞ x 2¼ ins. (10 x 5.6 cm.); folio 16¾ x 11¼ ins. (42.7 x 28.6 cm.)
The artist, Abu’l Hasan was born in 1588 or 1589 and was active in the royal
atelier from around 1600 until circa 1630. He was the son of Aqa Riza, of Herat
and the brother of Abid. Of the three he is considered to have been the most
PROVENANCE:
skilled, and to have transcended them both. The Mughal Emperor Jahangir
Mughal Imperial Collection (r.1605-27), writing in the Tuzuk-i-Jahangiri, praises Abu'l Hasan (Nadir al-Zaman,
Raja Jai Singh of Amber (r.1699-1743) ‘the Wonder of the Age’) above all other artists.
Mewar Royal Collecton
Sven Gahlin Collection, acquired in London, 1988; sold Sotheby’s, London, The renowned Mughal royal calligrapher 'Abd al-Rahim al-Haravi, from Herat,
6 October 2015, lot 20 worked initially at the library-atelier of the great general and bibliophile 'Abd
al-Rahim Khan-i Khanan. His earliest work in the imperial workshop is dated 1591
LITERATURE:
and he continued working during the reign of Jahangir until 1625. His father and
Beach et al. 2011, pp. 215 and 222, fg.22 grandfather were also both scribes. In 1604 ‘Abd al-Rahim was awarded the title
Ramaswarmy, Conceit of the Globe in Mughal Visual Practise, 2007 'Anbarin-qalam' ('Amber Pen' or 'Pen of Ambergris’).

Mughal miniatures are known to have been included in the Royal Mewar collection
at Udaipur and section 17 comprised European subjects. The present painting
was numbered 8 of 92 in the section.

480 IMAGES OF REDUCED SIZE


336
A PRINCE SEATED WITH LADIES IN A LANDSCAPE
MUGHAL, INDIA, MID-18TH CENTURY

Pigment and gold on paper, a group a young women reunite around a prince drinking, on a terrace in a
landscape, identifcation inscription in a cartouche above 'tasvire hosne 'alam sharab', an illustration of
beauty, the original central composition has been enlarged, backed on cream card
Painting 11¾ x 7½ ins. (30 x 19 cm.); folio 18½ x 14¾ ins. (47 x 37.5 cm.)

PROVENANCE:
Charles Gillot Collection; sold Christie’s, Paris, 4-5 March 2008, lot 92

IMAGE OF REDUCED SIZE 481


337
AKBAR HOLDING HUMAYUN’S TURBAN
MUGHAL INDIA, 17TH CENTURY

Ink, watercolor and gold on paper,


in gold borders, cream leaf
Painting 8½ x 4½ ins. (21.5 x 11.4cm.);
folio 10⅝ x 6¾ ins. (27 x 17cm.)

EXHIBITED AND CATALOGUED:


Château de Fontainebleau, 2018, p. 147, cat. 32

This delicately drawn portrait of Emperor Akbar,


relates stylistically to a number of drawings and
paintings produced during the reign of Shah Jahan
(d. 1666), including an example in the Cleveland
Museum of Art (see Leach, 1986, no. 26, p.91), and
was possibly commissioned for him. The turban-
crown he holds is symbolic of the dynastic lineage
between Shah Jahan’s grandfather Emperor Akbar
and his great-grandfather Humayun. Mughal
dynastic portraits often sought to reinforce the
legitimacy of the Mughal dynasty by tracing the
lineage back through Humayun to Babur and thence
Timur. One of the most well-known and extravagant
examples is The Princes of the House of Timur in the
British Museum (inv. no. 1913.0208.0.1).

482 IMAGE OF REDUCED SIZE


338
ASAF KHAN HOLDING
HUMAYUN’S TURBAN
ATTRIBUTABLE TO BALCHAND,
MUGHAL INDIA, CIRCA 1630

Opaque pigments and gold on paper, within


colored borders on gold-fecked cream album leaf,
backed on cream card with later
owner seal impression and notes
Painting 5¾ x 3⅜ ins. (14.2 x 8.5 cm.);
folio 14¼ x 9¾ ins. (36.2 x 24.6 cm.)

PROVENANCE:
The Dukes of Newcastle, Clumber Park,
Nottinghamshire, before 1928, sold The Clumber
Library: Catalogue of the Magnifcent Library,
Property of the Late Seventh Duke of Newcastle
removed from Clumber, Worksop and sold by the
order of the RT. Hon. The Earl of Lincoln, Christie’s,
London, 25 October 1937, lot 348;
Jean Pozzi, Paris, sold Succession de M. Jean
Pozzi: Collection de Miniatures Indiennes des
XVII-XVIII et XIX Siecles, Hotel Drouot, Paris,
2 December 1970, lot 23;
Armen Tokatlian, Paris

EXHIBITED AND CATALOGUED:


Château de Fontainebleau, 2018, p. 143, cat. 31

This fne portrait depicts one of the most signifcant


Mughal courtiers of the early 17th century, Mirza
Abu'l Hassan Asaf Khan (d.1641). The son of Itimad
al-Dawla (Ghyath Beg), the head of Jahangir's
Treasury, he was also the brother of Jahangir's favorite
wife Nur Jahan and the father of Mumtaz Mahal,
Shah Jahan's much loved spouse for whom he built
the Taj Mahal. As such he was more closely linked to
the Imperial family than any other noble; a number
of portraits of him were painted by imperial artists.

Many Mughal paintings depict fgures holding


symbolic objects such as jewelry, crowns or swords.
A portrait of Asaf Khan in the St. Petersburg
Muraqqa’ similarly shows him holding royal insignia,
in that instance the parasol and crown (Stronge,
2010, no.108, p.144). However, this portrait and
the previous portrait of Emperor Akbar are rare
examples which present each fgure holding
Humayun’s distinctive turban-crown. Here, the
crown likely symbolizes Asaf Khan’s position as
“kingmaker” (ibid.) amplifying his close relationship
to Jahangir through an association with his
grandfather Humayun.

Other known individual portraits of Asaf Khan


include a folio from the Wantage Album signed by
Balchand and dated to circa 1620 in the Victoria
and Albert Museum (IM.120-1921, London, 1976,
no.128, p.73), which is stylistically comparable to our
portrait. The high quality of our painting coupled
with the fact that Balchand is known to have painted
Asaf Khan on a number of occasions suggests that
our painting could be the work of this master, or a
close follower. For another depiction of Asaf Khan,
see lot 182 in this sale.

IMAGE OF ENLARGED SIZE 483


339
A GOLD-MOUNTED AGATE CAMEO OF JAHANGIR
CAMEO, FRANCE OR ITALY 1610-1630, MOUNT, FRANCE 1630-1640

Set in a gold pendant mount, the reverse engraved with fowers


2 ins. (5.1 cm.) long

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.73, no.44
Grand Palais, Paris 2017, p.30, no.3
The Doge’s Palace, Venice 2017, p.94, no.48
The Palace Museum, Beijing 2018, p.110, no.49
de Young Legion of Honor, San Francisco 2018, p. 66, no. 14

This rare, carved agate depiction of Jahangir fnds comparison with a small group
of Mughal cameos all bearing an image of Shah Jahan, produced by European or
Indian lapidaries working at the Mughal court. These include a sardonyx cameo
of Shah Jahan by a European craftsman at the Mughal court, circa 1630-40,
in the Victoria and Albert Museum, London, inv. IS.14-1974. A sardonyx cameo
with enamelled gold mount, attributed to Kan Atamm (‘the Supreme Engraver’),
circa 1630-40, illustrating the famous incident of a young Shah Jahan as Prince
Khurram slaying a lion, is now in the Bibliothèque Nationale de France, Paris, inv.
Camee.366 (Paris, 2017, p.29). An agate cameo portrait with a ruby surround is
in the Al-Sabah Collection, Kuwait (inv.no. LNS 43 J; Keene and Kaoukji, 2001,
no.9.11, p.114). Another sardonyx cameo, quite similar to the example in the
Victoria and Albert Museum, sold at Bonhams, London, 1 May 2003, lot 380.

Amina Okada suggests that the ‘relatively dry and angular’ treatment of Jahangir’s
face indicates that this is the work of a European lapidary probably working in
France or Italy. It is quite likely that the cameo was carved after an engraving or
portrait of the Mughal emperor (Paris, 2017, p.30).

For a gold-mounted agate bazuband in the sale, see lot 288.

(actual size alternate views)

484
485
486
SH A H JA H A N

Considered one of the most consequential Mughal father’s throne. His father’s throne, the throne of Jahangir, was a
rulers, Shah Jahan reigned during what is now termed the rectangular platform of engraved black basalt. In stark contrast,
Golden Age of the Mughal Empire. He ascended the throne in Shah Jahan’s elaborate throne was considered one of the
1627 after the death of his father, Emperor Jahangir. The third of primary examples of Golden Age Mughal design and cost twice
fve sons, Shah Jahan was granted the title “Shah Jahan” by his as much to produce as the Taj Mahal. This throne was used by
father. Translating to “King of the World,” it is by this name that subsequent Mughal emperors following Shah Jahan’s death and
he is known and not his given name. His thirty-year rule, 1628- ultimately pilfered from the city by invading Persians in 1739.
1658, saw the development of the most signifcant examples of
Mughal architecture and design. Shah Jahan was deposed from the throne in 1658 by his son,
Aurangzeb. It is likely Shah Jahan’s ambition led to his ultimate
An increasingly ambitious leader, Shah Jahan was responsible removal from the throne: his expanding empire spread the
for the expansion of the territory under Mughal rule, as well as military too thin, allowing opportunity for rival ruling factions
the construction of the most signifcant examples of Mughal to challenge control; military losses begat fnancial instability,
architecture and design in history. Shah Jahan’s vision for which was complicated further when coupled with his custom
expansion was a holistic approach, using military prowess to for his lavish spending. Shah Jahan fell ill and his sons sensed an
extend his empire and propagating design and art to further opportunity to seize control. Aurangzeb emerged victorious and
unify his subjects. Shah Jahan was placed under house arrest at Agra Fort until his
death in 1666.
The Taj Mahal, in its scale and scope, is Shah Jahan’s best
known symbol of his commitment to high Mughal architecture. Shah Jahan died in 1666 and was buried next to his wife in the
The mausoleum was built on the bank of the Yamuna River in Taj Mahal. It is believed that he had intended to build a second
Agra as a tribute to his wife, Arjumand Banu Begum, known as mausoleum for himself: a Taj Mahal in black marble across the
Mumtaz Mahal, following her death during childbirth. Yamuna river from his wife’s. His removal from power ensured
that this project would never be seen to fruition. His cenotaph,
During his rule, Shah Jahan commissioned several architectural instead, was inserted beside Mumtaz Mahal and they were
masterpieces, including the Moti Masjid, the Agra Fort, the Red oriented north to south in compliance with Islamic practice.
Fort and the Wazir Khan Mosque. It is his throne, however, that Her cenotaph is in the center with his on the west side of the
provides the clearest evidence of his taste and standard for high enclosure to her right. This asymmetry suggests that Shah
opposite:
art and design. Shah Jahan commissioned a solid gold throne Jahan never intended to be buried there.
Shah Jahan,
illustrated in Lot 384 with enamel, pearl and precious stones as a replacement for his

487
340
'THE SHAH JAHAN EMERALD'
A CARVED EMERALD

Oval cabochon emerald of 30.60 carats, 24.90 x 21.98 x 7.41 mm,


circa 1621-1622
AGL, 2019, report no. 1100307: 30.60 carats, Colombia,
minor clarity enhancement, modern type

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 77, no. 48
Grand Palais, Paris 2017, p. 42, no. 13
The Doge’s Palace, Venice 2017, p. 55, no. 8
The Palace Museum, Beijing 2018, p. 66, no. 9
de Young Legion of Honor, San Francisco 2018, p. 53, no. 5

LITERATURE:
Jafer 2013, p. 95, no. 11

INSCRIBED:
Shihab al-Din Muhammad Shah Jahan Warrior Emperor 1031

Mughal emeralds typically include spiritual texts when bearing an inscription.


This rare emerald is inscribed with the name of Shah Jahan, but is dated prior to
his accession to the throne in 1628. The inscription indicates that the emerald was
likely inscribed during the time period when Shah Jahan unsuccessfully rebelled
against his father, Jahangir.

(actual size)

488
341
'THE SHAH JAHAN NECKLACE'
AN ANTIQUE SPINEL, PEARL, DIAMOND AND
MULTI-GEM NECKLACE

Tumbled spinel beads, pearls, octagonal table-cut diamond,


variously-shaped table-cut diamonds and rubies, carved jade, gold, 42½ ins.,
one spinel dated 1609-10, restrung at a later date

EXHIBITED AND CATALOGUED:


Los Angeles 1989, pp. 136-37, no. 136
Paris 2001, pp. 220-21
The Miho Museum, Koka 2016, p. 76, no. 47
Grand Palais, Paris 2017, p. 61, no. 42
The Doge’s Palace, Venice 2017, p. 72, no. 31
The Palace Museum, Beijing 2018, p. 84, no. 32
de Young Legion of Honor, San Francisco 2018, p. 172, no. 28

LITERATURE:
Pal et al., 1989, pp. 136-167, no. 136
Jafer 2013, pp. 97-98, no. 19

INSCRIBED:
Shah Jahan Warrior Emperor (on the diamond)
Jahangir [son] of Akbar Shah 1018 (largest spinel to left of center)

490
491
342
A GEM SET GOLD MAKARA-HEAD FINIAL
MYSORE OR TANJORE, SOUTH INDIA,
1775-1825

Set with diamonds, rubies, and sapphires


1⅝ ins. (4.1 cm.) long; ¾ in. (2.1 cm.) high;
⅝ in. (1.7 cm.) wide

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p. 49
(actual size) The Miho Museum, Koka 2016, p.106, no.74
Grand Palais, Paris 2017, p.183, no.138
The Doge’s Palace, Venice 2017, p.209, no.141
The Palace Museum, Beijing 2018, p.232, no.145

LITERATURE:
Jafer 2013, p.189, no.60

492
343
AKBAR WITH PRINCE KHURRAM
MUGHAL INDIA, 17TH CENTURY

Opaque pigments and gold on paper,


mounted on an album leaf, backed on cream card
Painting 7 x 3⅞ ins. (17.9 x 9.7 cm.); folio 13 x 8 ins.
(33 x 20.3 cm.)

PROVENANCE:
Sotheby's, London, 1 July 1969, lot 102

The style of the present painting shows infuences


from Manohar, considered the inventor of the group
portrait during the reign of Emperor Akbar (Forge
and Lynch, 2015, no. 3, pp.6-8). The well-known
works by Manohar include two portraits of Emperor
Akbar now in Cincinnati and Dublin c. 1602-04
(McInerney, 1991, pp.53-68, fgs. 9-10, see also
Okada, 1992, no.169, p.145). Works by Manohar
were sources of inspiration for a number of works by
other artists including a portrait of Emperor Akbar
in the Kevorkian Album c. 1630 in the Metropolitan
Museum of Art (acc. no. 55.121.10.22, see Welch et
al., 1987, no. 9, p.96, Forge and Lynch, 2015, p.6).
The style of both the Cincinnati example and the
Kevorkian album share similar facial features to this
work, all shown in a three-quarter view.
The emperor Akbar is depicted here with his
grandson prince Khurram, later Shah Jahan. This
sensitively drawn portrait, probably completed
during the reign of Shah Jahan, emphasises the
link between the ruler and his beloved grandfather,
reinforcing the legitimacy of his reign
(Forge and Lynch, 2015, no. 3, pp.6-8).

This painting is believed to have come from an


album composed for Fath ‘Ali Shah in 1764 AD,
many folios from which were sold at auction by
Laurin-Guilloux-Bufetaud, Hôtel Drôuot, Paris,
23 June 1982. Many borders in this album were
signed by artists such as Muhammad Baqir,
and the borders of our album page also
follow his style of painting.

IMAGE OF ENLARGED SIZE 493


344
A JADE INKWELL LID
NORTH INDIA, CIRCA 1800

Carved and set with rubies in gold, on later mount


1¾ x 1⅝ ins. (4.4 x 4.2 cm.)

494
345
A MEETING BETWEEN SHAH JAHAN AND KHIZIR
MUGHAL INDIA, CIRCA 1640-1660

Opaque pigments and gold on paper, in pale pink borders on cream album leaf decorated with gold and
polychrome cartouches and roundels, backed on green card
Painting 6½ x 4¼ ins. (16.5 x 10.9 cm.); folio 14⅜ x 9⅝ ins. (36.7 x 24.5 cm.)

IMAGE OF ENLARGED SIZE 495


346
A GOLD AND GEM SET RITUAL SPOON
SOUTH INDIA, 1800-1850

Set with diamonds and rubies, the fnial showing


Krishna beneath a fve-headed cobra
6⅝ ins. (16.7 cm.) high; 1¼ ins. (3.9 cm.) wide;
1 in. (2.5 cm.) deep

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, p.54
The Miho Museum, Koka 2016, p.110, no,78
Grand Palais, Paris 2017, pp.200-01, no.151
The Doge’s Palace, Venice 2017, p.211, no.144
The Palace Museum, Beijing 2018, p.234, no.148

LITERATURE:
Jafer 2013, p.191, no.63

A ruby-inlaid gold Gopalakrishna temple pendant


was exhibited in Doha in 2002 (Tan, 2002, no.12,
pp.46-49). Attributed to late 17th century India, the
detailed note links it to two further slightly later
examples. One was donated in the 18th century to
the Krishna Math (monastery) in Udupi by the Queen
of Keladi; the other was donated at a similar time
to the Sri Saradamba Temple at Shringeri by Rani
Chennamma of Kittur. Further ritual objects remain
at these and other related temples, mostly having
been donated by the members of the local royal
families. It is interesting that in none of these images
are sapphires, which were available from Kashmir,
used, the stone that would best refect the color of
The Blue God.

The relationship between Krishna and the multi-


headed snake is complicated. Krishna achieved
mastery over Kaliya, the poisonous multi-headed
snake who was terrorizing the neighborhood,
by dancing on his head until he submitted.
Ichnographically Krishna in this spoon adopts
precisely the dancing position that is associated with
this event. But in this case the snake’s hood rears
up over him protectively, an image that immediately
recalls Ananta Vishnu, the protection of Vishnu
(whose avatar Krishna is) by Shesha, the Nagaraja or
Lord of the Snakes. The head of this spoon combines
the two elements in one icon.

496
(detail)

347
AN ENAMELLED SILVER AND
GOLD FLYWHISK
DELHI, INDIA, CIRCA 1800

The steel body decorated with bands of gold, the


base of the bell-shaped surmount with
green and blue enamelling
7⅛ ins. (18 cm.) long;
with feathers 48⅞ ins. (124 cm.) long

PROVENANCE:
Stuart Cary Welch Collection; sold Sotheby's,
London, 6 April 2011, lot 111

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, pp. 70-71, no. 42

498 IMAGES OF REDUCED SIZE


348
A HARDSTONE CHAUPUR SET WITH ENAMELLED AND GEM SET GOLD DICE
NORTH INDIA; DICE 1700-1750, PIECES 20TH CENTURY

Consisting of three dice and sixteen game pieces carved from agate, chalcedony, yellow chalcedony and
jasper, the dice with diamonds in gold surrounded by enamelled foral designs in red, green navy and white
Dice 2¾ ins. (6.9 cm.) long; pieces ⅝ in. (1.6 cm.) high

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p.60, no.33
Grand Palais, Paris 2017, p.205, no.155
The Doge’s Palace, Venice 2017, p.218, no.149
The Palace Museum, Beijing 2018, pp.240-41, no.153

499
349
A SET OF ROCK-CRYSTAL AND GOLD CUTLERY
SRI LANKA OR GOA, INDIA, 16TH-17TH CENTURY OR LATER

The gold mounts set with rubies and sapphires, the ends decorated with
dragon shaped heads, the metal marked with a mark on all knives, the reverse
of the spoon bowls decorated in low relief, the set comprising four knives,
four forks and four spoons
Knife 8⅝ ins. (21.8 cm.) long; fork 5⅝ ins. (14.3 cm.) long;
spoon 6⅛ ins. (15.5 cm.) long

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p.169, no.112
The Palace Museum, Beijing 2018, pp.194-95, no.116
de Young Legion of Honor, San Francisco 2018, p. 79, no. 25

(actual size detail)

500
IMAGES OF REDUCED SIZE 501
350
A CARVED EMERALD

Hexagonal-shaped carved emerald of


52.04 carats, 28.15 x 32.15 x 7.88 mm,
late 17th to early 18th century
AGL, 2019, report no. 1100333: 52.04 carats,
Colombia, no clarity enhancement

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 168, no. 130
Grand Palais, Paris 2017, p. 44, no. 18
The Doge’s Palace, Venice 2017, p. 62, no. 17
The Palace Museum, Beijing 2018, p. 75, no. 18
(actual size)
de Young Legion of Honor, San Francisco 2018,
p. 171, no. 18

502
351
A CARVED EMERALD

Hexagonal-shaped tabular carved emerald of


80.24 carats, protruding lugs on opposing sides,
34.95 x 35.00 x 7.95 mm, mid to late 17th century
AGL, 2019, report no. 1100329: 80.24 carats,
Colombia, insignifcant clarity enhancement,
traditional type

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015,
pp. 54-55, no. 20
The Miho Museum, Koka 2016, p. 166, no. 128
(actual size)
Grand Palais, Paris 2017, p. 44, no. 19
The Doge’s Palace, Venice 2017, p. 63, no. 19
The Palace Museum, Beijing 2018, p. 76, no. 20
de Young Legion of Honor, San Francisco 2018,
p. 171, no. 12

LITERATURE:
Jafer 2013, p. 96, no. 17

503
352
A CARVED EMERALD

Carved emerald of 45.53 carats, with protruding


lug for suspension, 34.28 x 28.92 x 7.60 mm,
18th or 19th century
AGL, 2019, report no. 1100339: 45.53 carats,
Classic Colombia, insignifcant clarity
enhancement, traditional type

(actual size)

504
353
AN INSCRIBED EMERALD

Oval mixed-cut emerald of 17.94 carats,


22.15 x 19.41 x 5.22 mm, emerald dated 1786–1787
AGL, 2019, report no. 1100330: 17.94 carats,
Classic Colombia, no clarity enhancement

INSCRIBED:
Mirza Raja Sultan Mir Bahram Raj Bahadur 1201

(actual size)

505
354
AN INSCRIBED EMERALD

Rectangular-cut emerald of 87.09 carats,


31.84 x 24.16 x 12.21 mm
AGL, 2019, report no. 1100311: 87.09 carats,
Brazil, minor to moderate clarity enhancement,
traditional type

PROVENANCE:
Bonhams, London, 25 April 2017, lot 204

INSCRIBED:
From the Qur'an Chapter II,
(al-Baqara, The Cow), v. 255
(actual size)

506
355
A CARVED EMERALD

Carved emerald of 51.96 carats,


25.60 x 23.82 x 10.82 mm, 19th century
and reworked at a later date
AGL, 2019, report no. 1100334: 51.96 carats,
Colombia, insignifcant to minor clarity,
traditional type

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p. 43, no. 17
The Doge’s Palace, Venice 2017, p. 64, no. 20
The Palace Museum, Beijing 2018, p. 77, no. 21
de Young Legion of Honor, San Francisco 2018, (actual size)

p. 172, no. 21

The small drill holes in the recessed area of this


emerald suggest that the stone originally secured
another gemstone, likely a diamond. After the
additional gemstone was removed, the emerald
was modifed to a rounded shape.

507
508
PAU L I R I B E

The designs of Paul Iribe are not widely known, The present aigrette, part of this series, was one of the frst to
yet they are of utmost importance in the history of jewelry design. present a combination of blue and green, through the use of
Iribe was a talented illustrator, cartoonist and interior designer emeralds and sapphires, directly infuenced by the celebrated
in Paris by the end of the Belle Époque period, contributing to Diaghilev’s ‘Ballets Russes’ exotic colors. It was also very clearly
satirical or style papers, infusing a very modernist vision into the announcing the appeal for radical geometry that would invade
art of fashion illustrations. all areas of design following World War II. The type of jewel
itself, an aigrette, and the large carved emerald were a direct
Around 1908, his collaboration with Paul Poiret, one of the tribute to India’s spectacular jewels and color combinations. A
most important couturiers of the Belle Époque, would represent forerunner in each and every category, even the way Paul Iribe’s
the new standards in fashion of the era, favoring liberal display jewels were exhibited was considered as ‘never seen before’, as
opposite: of fuid forms and to this today, representing perfectly the written in ‘Art et Decoration’ in 1911.
Cover of Comoedia Illustré, transitional period between Belle Époque and Art Deco.
1 March 1911, showing Jeanne
Dirys wearing the Paul Iribe The aigrette was most certainly a favorite of Paul Iribe himself
aigrette as a plaque de corsage In 1910, he designed a series of eleven jewels, beautifully as it was worn by his wife, actress Jeanne Dirys, both in her play
executed by Robert Linzeler, that would exhibit a taste of what ‘Le Cadet de Coutras’ and on the cover illustration of ‘Comoedia
© BNF, Bibliotheque nationale
de France would evolve into the Art Deco style in the years to come. Illustré’ in March 1911.

509
356
AN ART DECO CARVED EMERALD, SAPPHIRE, DIAMOND
AND PEARL AIGRETTE, PAUL IRIBE FOR ROBERT LINZELER

Hexagonal-shaped carved emerald, circular cabochon and calibré sapphires,


old-cut diamonds, pearls, platinum and 18k white gold (French marks),
3½ ins., 1910, unsigned
AGL, 2019, report no. 1100327: Colombia,
insignifcant to minor clarity enhancement, traditional type

PROVENANCE:
Madame Jeanne Iribe
Cartier
Private Collection

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014, pp. 98-99
The Miho Museum, Koka 2016, p. 184, no. 145
Grand Palais, Paris 2017, p. 321, no. 236
The Doge’s Palace, Venice 2017, p. 313, no. 214
The Palace Museum, Beijing 2018, p. 327, no. 218
de Young Legion of Honor, San Francisco 2018, p. 137, no. 68

LITERATURE:
Carsix 1911, pp. 27-32
Comoedia illustré 1911-12
Bachollet et al. 1982, p. 229
Jafer 2013, p. 318, no. 108

(actual size)

510
511
357
A JADE AND ROCK-CRYSTAL
COSMETICS SPOON
INDIA, 19TH CENTURY

The back of the bowl engraved in a petal shape


in low relief
7⅛ ins. (18.2 cm.) high

512
358
A CARVED ROCK-CRYSTAL CUP
INDIA, SECOND HALF 17TH CENTURY

The cup on short fared foot, with fower bud shaped handle, repaired breaks
3 ins. (7. 7cm.) high; 4⅛ ins. (10.4 cm.) wide including handle

513
(detail)

359
A GOLD-INLAID AND GEM SET
JADE FLYWHISK
NORTH INDIA, 1675-1725

Set with rubies in gold, the interior of the head set


with a silver disk, the terminal with rounded
fower-bud surmounted with a small ruby
11¾ ins. (29.8 cm.) long; 1⅛ ins. (3.5 cm.) wide

EXHIBITED AND CATALOGUED:


Metropolitan Museum of Art, New York 2014,
pp.34-35
The Miho Museum, Koka 2016, p.102, no.71
Grand Palais, Paris 2017, pp.138-39, no.106
The Doge’s Palace, Venice 2017, p.162, no.107
The Palace Museum, Beijing 2018, p.188. no.111
de Young Legion of Honor, San Francisco 2018,
p. 76, no. 22

LITERATURE:
Jafer 2013, p.62, no.28

514 IMAGES OF REDUCED SIZE


360
A JADE FLYWHISK
NORTH INDIA, CUP 1675-1725, HANDLE
POSSIBLY LATER

In three colors of jade, the cup set with


rubies in gold
7⅞ ins. (19.9 cm.) long; 1⅛ ins. (2.9 cm.) wide

PROVENANCE:
George Nathaniel Curzon, 1st Marquess Curzon of
Kedleston, Viceroy of India (1898-1905);
Lady Alexandra Metcalfe, thence by descent
Bonhams, London, 28 April 2005, lot 571
Sotheby’s, London, 6 April 2011, lot 358

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015,
p.84, no.39
The Miho Museum, Koka 2016, p.103, no. 73
Grand Palais, Paris 2017, p.137, no.105
The Doge’s Palace, Venice 2017, p.163, no.108
The Palace Museum, Beijing 2018, p.189, no.112

LITERATURE:
Jafer 2013, p.65, no.27

515
361
A MUGHAL JADE LOBED BOWL
INDIA, CIRCA 1700

The thin walls divided into six petal-shaped lobes converging in the centre of the bowl,
the exterior fnely carved in low relief foral designs, the base engraved in a fowerhead shape
5¼ ins. (13.2cm.) wide

516
362
A JADE BOWL
MUGHAL INDIA, 18TH CENTURY

The exterior fnely carved in low relief with fowers and buds, fanked by two broad leaves folded over at
the tips to form the handles, punctuated by fowerhead fnials, the base carved in a six petal fowerhead,
the well-polished semi-translucent stone with small areas of opaque inclusions
6½ ins. (16.5cm.) wide

517
363
A JADE SPOON
INDIA, 1650-1700

Made in two parts, the reverse of the bowl


inscribed with three leaves in low relief
6⅜ ins. (16.2 cm.) long; bowl ⅞ in. (2.4 cm.) wide

EXHIBITED AND CATALOGUED:

363
The Miho Museum, Koka 2016, p.53, no.27
Grand Palais, Paris 2017, p.92, no.61
The Doge’s Palace, Venice 2017, p.110, no.61
The Palace Museum, Beijing 2018, p.131, no.64

LITERATURE:
Jafer 2013, p.70, no.23

364
364
A JADE SPOON
INDIA, CIRCA 1650-1700

Made in two pieces, the reverse of the bowl


engraved with three petals in low relief
5¼ ins. (13.3 cm,) long; bowl 1½ ins. (3.7 cm.) wide

LITERATURE:
The Miho Museum, Koka 2016, p.54, no.28
Grand Palais, Paris 2017, p.92, no.60
The Doge’s Palace, Venice 2017, p.110, no.60
The Palace Museum, Beijing 2018, p.130. no.63
de Young Legion of Honor, San Francisco 2018,
p. 173, no. 42

518
365
A CARVED JADE BOWL
INDIA, 1700-1750

With foral decoration around the


base in low relief, fowerhead foot
3⅜ ins. (8.4 cm.) diam.; 1¼ ins. (3.2 cm.) high

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.82, no.51
The Doge’s Palace, Venice 2017, p.105, no.56
The Palace Museum, Beijing 2018, p.123, no.58

(alternate view)

519
366
A CARVED JADE BOWL
NORTH INDIA, 1650-1700

The body engraved with fowers, serrated leaf forms to the sides rising to the shoulders and terminating
in curled foral-bud shaped lug handles, the base carved as a fowerhead
2 ins. (5.2 cm.) high; 6⅛ ins. (15.7 cm.) wide

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015, pp.72-73, no.30
The Miho Museum, Koka 2016, p.52, no.26
Grand Palais, Paris 2017, p.85, no.54
The Doge’s Palace, Venice 2017, pp.102-03, no.53
The Palace Museum, Beijing 2018, pp.120-21, no.56
de Young Legion of Honor, San Francisco 2018, p. 67, no. 15

520
367
A CARVED JADE INKWELL
NORTH INDIA, 1600-1625
EXHIBITED AND CATALOGUED:

Of globular form rising from short ring foot to short waisted neck, the rim with The Miho Museum, Koka 2016, p.45, no.20
a carved protruding ring, the fnely carved decoration with fve large rosettes Grand Palais, Paris 2017, p.81, no.50
between bands of lotus and radiating petals above and below, one side with a The Doge’s Palace, Venice 2017, p.96, no.10
suspension hoop The Palace Museum, Beijing 2018, pp.112-13, no.51
3¼ ins. (8.2 cm.) diam.; 2.5 ins. (6.2 cm.) high; 1¾ ins. (4.6 cm.) diam. at mouth de Young Legion of Honor, San Francisco 2018, p. 173, no. 36

A nephrite-jade inkwell, very similar in size and decoration, is in the al-Sabah


Collection (Keene with Kaoukji, 2001, p.115, cat.9.14).
PROVENANCE:
Rev. Dr. Nevil Maskelyne (d.1811) The Royal Observatory, Greenwich. His wife
Margaret Maskelyne at Bassett Down, Wiltshire, thence by descent
Christie’s, South Kensington, 27 April 2012, lot 564

521
368
A CARVED JADE CRUTCH HANDLE
INDIA, EARLY 19TH CENTURY

Set with diamond eyes in gold


5⅞ ins. (15 cm.) long

522
(detail)

369
A JADE AND ROCK-CRYSTAL
CEREMONIAL STAFF
INDIA, 18TH-19TH CENTURY

Carved rock crystal and jade, one repaired break


on the lower rock crystal band
11½ ins. (29.3 cm.) long

IMAGES OF REDUCED SIZE 523


370
A GEM SET CARVED JADE MIRROR
NORTH INDIA OR DECCAN, 1675-1700
PROVENANCE:
The back decorated with foral designs in low Formerly in a Danish royal collection
relief, the mirror framed with a band of inlaid rubies Bonhams, London, 24 April 2012, lot 224
and emeralds set in gold, the base inlaid with a
EXHIBITED AND CATALOGUED:
large ruby set in gold
Grand Palais, Paris 2017, pp.102-03, no.71
8½ ins. (21.6 cm.) high; 5⅜ ins. (13.8 cm.) wide;
The Doge’s Palace, Venice 2017, pp.116-17, no.66
¾ in. (1.9 cm.) deep
The Palace Museum, Beijing 2018,
pp.138-39, no.69

524
525
371
PAAN BOX
MUGHAL INDIA, CIRCA 1700

Jade with fowering plants in low relief, the lid with a ruby set in gold, base and interior undecorated
4½ ins. (11 cm.) wide

526
(alternate views)

372
A CARVED AND INSCRIBED JADE PENDANT (HALDILI)
INDIA, LATE 16TH OR 17TH CENTURY

Recto engraved with foral motifs, verso inscribed with Qur'an LXVIII, the Museum of Islamic Art, Doha (previously sold Sotheby’s, London, 18 October
sura al-qalam, vv. 51-52 2001, lot 150). That example bore the name of Shah Jahan, written neatly along
2 ins. (5 cm.) high the lower edge, and a date of AH 1041/1631-62 AD.

A number of jades inscribed for the Emperor Jahangir are known. Most of
these take the form of wine cups – something that for Jahangir were favorite
INSCRIBED: possessions and imperial attributes (Welch, 1985, p.195). One of these is in the
Qur'an LXVIII, sura al-qalam, vv.51-52 Brooklyn Museum (dated AH 1016/1607-08). Another, at the Rhode Island School
of Design, is dated AH 1021/1612-13 AD. An inkpot and opium cup are also known
The elegant nasta`liq on this pendant is very similar to that on another haldili (dated AH 1028/1618-19 AD and AH 1026/1617-18 AD respectively) and in the
pendant sold at Christie’s, London, 10 April 2014, lot 130. That however was Metropolitan Museum of Art in New York and the Banaras Hindu University,
inscribed in Arabic, with the Throne Verse (Ayat al-Kursi) from the Qur’an, (sura Varanasi (all published Welch, op.cit., nos.122-126). The Christie’s pendant was
II, al-baqara, v.256). The note to that lot gives an extensive discussion about the the earliest of all, dated AH 1006/1597-8. While the present pendant bears the
signifcance and use of jade at the Mughal Court, concentrating on the jades date of 1000/1591-2, this appears probably to be a later addition.
produced at Allahabad during Prince Salim’s period of rebellion against Akbar. A
further very comparable jade pendant, also inscribed with Ayat al-Kursi, is now in The design on the other side of this pendant is clearly European in infuence,
if not execution. The style is consistent with a 17th century dating.

527
373
A GEM SET DAGGER (PESH-KABZ)
WITH ENAMELLED GOLD SCABBARD
DAGGER INDIA, SECOND HALF
18TH CENTURY; SHEATH PROBABLY
HYDERABAD, SINDH, CIRCA 1800

The hilt enamelled and set with diamonds,


watered steel blade, the scabbard with enamelled
designs of animals and huntsmen on both sides,
jeweled attachment with a large citrine topped by
two enamelled parrots and a central diamond
Scabbard 14½ ins. (37 cm.) long
Blade 11½ ins. (29.2 cm.) long

PROVENANCE:
By repute, Maharaja of Indore

528 IMAGES OF REDUCED SIZE


374
A RUBY-SET DAGGER (PESH-KABZ)
WITH MATCHING SCABBARD
INDIA, CIRCA 1800

Steel blade
Dagger 14⅞ ins. (37.7 cm.) long;
scabbard 11¾ ins. (30 cm.) long

PROVENANCE:
By repute, Maharaja of Indore

IMAGES OF REDUCED SIZE 529


375
A CARVED AND GEM SET
WALRUS IVORY HILTED DAGGER
INDIA, 18TH CENTURY

Set with diamonds, rubies and emeralds,


steel blade
12⅜ ins. (31.5 cm.) long

530 IMAGE OF REDUCED SIZE


376
THE QUEEN OF AWADH’S KNIFE (KARD)
NORTH INDIA, 1775-1800

Walrus ivory carved as a ram’s-head,


set with ruby eyes, watered-steel blade
9⅝ ins. (24.5 cm.) long; ⅞ in. (2.2 cm.) wide

PROVENANCE:
By repute, the Queen of Awadh

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.117, no.89
The Doge’s Palace, Venice 2017, p.143, no.91
The Palace Museum, Beijing 2018, p.167, no.95

531
377
A GEM SET JADE HILTED
DAGGER (KHANJAR)
DECCAN OR NORTH INDIA, 1700-1725

Set with rubies and diamonds, rain guard


decorated with foral motifs on each side,
steel blade
17 ins. (43 cm.) long; 2½ ins. (6.5 cm.) wide

EXHIBITED AND CATALOGUED:


Grand Palais, Paris 2017, p.125, no.96
The Doge’s Palace, Venice 2017, p.152, no.98
The Palace Museum, Beijing 2018, p.175, no.102
de Young Legion of Honor, San Francisco 2018,
pp. 90-91, no. 33

LITERATURE:
Jafer 2013, p.68, no.30

532 IMAGE OF REDUCED SIZE


378
A DAGGER (KHANJAR) WITH
EXCEPTIONALLY FINE SILVER AND
BRASS-INLAID HILT AND SCABBARD
BIDAR, CENTRAL INDIA, 17TH CENTURY

Watered-steel blade, the forte with rubbed


inscription cartouche reading ‘’Ali’, the top of the
hit with overlaid gold decoration,
original fnial probably lacking
15¼ ins. (38.8 cm.) long

PROVENANCE:
Christie’s, London, 8 October 2015, lot 154

EXHIBITED AND CATALOGUED:


Higgins Armory Museum, Worcester MA,
September-December, 1994

The very fne and controlled rendering of the poppy


heads which decorated this dagger are very closely
related in design to a bidri spittoon which Mark
Zebrowski dates to the 18th century (Zebrowski, 1997,
p.181, no.259). It is clear however, even in light of the
similarity of design, that our dagger predates the
spittoon. Robert Alderman states that the presence
of both silver and brass inlay is a feature of early bidri
wares, confrming that our dagger predates the 18th
century (Haidar and Sardar, 2015, p.186).

The intricate balance between the larger poppies


and the lattice formed by smaller poppies and fne
tapering leaves is similar to the enamelled decoration
on a sheath of a dagger in the Al-Sabah Collection
which is attributed to Mughal or Deccani Sultanates,
mid-17th century (Inv. LNS 2221; Stronge, 2010,
p.221, pl.183). The form of our dagger with its raised
central ring around the grip is typical of the Deccan.
A dagger inscribed with verses dedicated to ‘Ali
of closely related form to our present dagger is
catalogued as 17th century Deccani (Mohamed, 200,
pp. 218 and 227, p.218).

IMAGES OF REDUCED SIZE 533


379
A MUGHAL ENAMELLED DAGGER (KARD)
WITH VELVET COVERED SHEATH
PROBABLY JAMMU AND KASHMIR,
NORTH INDIA, DATED AH 1189/1775-76 AD

Steel blade, the hilt, locket and chape decorated


in various deity fgures with polychrome enamels
on blue enamelled ground, the spine with Shi'a
avocations and prayers in gold on blue enamel, the
tip of the pommel with a prayer and dated AH 1189
13¾ ins. (35 cm.) long

EXHIBITED AND CATALOGUED:


The Doge’s Palace, Venice 2017, p. 190, no. 127
The Palace Museum, Beijing 2018,
pp. 214-245, no. 131

INSCRIBED:
In Arabic, on the back edge of the hilt – ‘O Lord,
for the sake of Muhammad and the family of
Muhammad, ‘Ali, and Fatima the daughter of
Muhammad, Hasan and Husayn’
In Arabic and Persian, on the front edge of the hilt
– ‘For every catastrophe that occurs recite seventy
times / There is no hero but ‘Ali no sword but
Dhul-Fiqar’
In Arabic and Persian, on the base of the hilt – from
the Qur’an, LXI, sura al-saf, part v.13: Help from
God and speedy victory / Brings forth an answer at
the court of God
In Arabic, on the side of the scabbard – an
invocation to ‘Ali
In Arabic, along the edge of the scabbard –
invocations to God – ‘O Judge of Needs! And
O Suficient in Necessities! And O Answerer of
Supplications!’

The decoration on this dagger and scabbard displays


a rare combination of Muslim prayers alongside
images of Hindu deities. The inscriptions are derived
from both the Qur’an as well as Shi’a sources. The
fgures of Indian gods and goddesses including the
multi-armed goddess Durga, Vishnu seated under a
fve-headed serpent and the monkey god Hanuman
illustrate an infuence of eighteenth century North
Indian painting from Kashmir and Pahari states
(Beijing 2018, p.214).

The turquoise enamelling used for the ground on


the hilt as well as the fttings on the scabbard is
highly unusual. For brief note on turquoise enamel
and a gem set gold box decorated with this color,
see lot 232 in the sale.

534 IMAGES OF REDUCED SIZE


380
A GEM SET JADE-HILTED
DAGGER WITH SCABBARD
INDIA, CIRCA 1700

Set with diamonds, rubies and emeralds,


watered-steel blade, the scabbard with
enamelled locket and chape
15¼ ins. (38.8 cm.) long

PROVENANCE:
By repute, Maharaja of Indore

IMAGES OF REDUCED SIZE 535


381
A PERSONAL SWORD OF SHAH JAHAN
WITH GOLD-DAMASCENED TULWAR HILT
THE BLADE EUROPE, CIRCA 1600,
THE INSCRIPTION AND MOUNTS INDIA,
SECOND QUARTER 17TH CENTURY

The watered-steel blade with gold-overlaid inscription


and marked with the royal parasol (chhattri)
33¾ ins. (85.7 cm.) long

INSCRIBED:
huwal 'ali ila 'ali, hilal-i zafar, sahib qiran-i thani, 'He is the Supreme
Commander, the Crescent of Victory, Second Lord of the Auspicious
Conjunction'

The phrase Sahib Qiran Thani was one used by Shah Jahan on selected items 2015 p.184, cat. 70, 36.25.1591a, b). The form of our blade has been slightly
that were for his personal use. For a brief discussion please see the entry under altered, probably in the Mughal armory, converting the form to one very similar
the Shah Jahan dagger, lot 387. A further example of the use of this title is on a to that of the Ottoman and Safavid swords with mostly single edged blade,
ring mounted with a spinel and dated 1643 (V, inv.no.1023-1871; 1982, no.355, pronounced yelmen and double-edged tip. The cusped panel at forte probably
p.118). The royal ownership is further dates from the same period, again echoing Safavid and Ottoman prototypes.
confrmed by the overlaid gold parasol, a sign of royalty indicating our tulwar
entered the personal armoury of a Mughal emperor or of a direct relative. The koftgari decoration of grapes hanging from interlocking vines forming
a geometric lattice were in frequent use on hilts in the 17th century. Robert
The importation and use of foreign blades in India is well documented. Weapons Hales attributes to the late 17th century two tulwars mounted with similar
ftted with such blades were referred to as frangis when of European provenance. gold-decorated hilts, one with rows of blooming carnations and the other with
A sword ftted with a similar European blade with deep fullers, and inscribed with repeating foral cartouches (Hales, 2013, p. 162). For a closely related sword
the name of Emperor Aurangzeb on its spine, dated 1083/1673, also marked with please see the following lot.
the royal parasol, is in the Metropolitan Museum of Art, New York (Alexander,

(alternate views)

536 IMAGES OF REDUCED SIZE


IMAGES OF REDUCED SIZE 537
382
‘DIAMOND’, A PERSONAL SWORD OF THE EMPEROR AURANGZEB
WITH GOLD-DAMASCENED TULWAR HILT
THE BLADE EUROPE, CIRCA 1600,
THE INSCRIPTION AND MOUNTS INDIA,
SECOND QUARTER 17TH CENTURY

The watered-steel blade stamped with a royal inscription and inlaid in


gold with further inscriptions on the spine and the royal parasol (chhattri)
on the blade
35 ins. (89 cm.) long

INSCRIBED:
almas, inna fatahna laka fathan mubina, alam gir shahi, 'The Hardest /
Diamond, We have given thee a signal of victory (Qur’an XLVIII, sura al-Fath,
v.1), of Alamgir Shah'

The frst word, which translates as ‘Diamond’ or ‘The Hardest’, almost certainly Aziz, 1947, pp.21-22). The gold inlaid parasol (chhattri) mark, a symbol reserved f
refers directly to the sword itself. It was not uncommon for Mughal emperors to or the ruler, is also found on the previous lot, and the Shah Jahan dagger, lot 387
name their personal swords. One of Aurangzeb’s swords, named as Blood Thirsty, in this sale.
was sold at Christie’s, London, 23 April 2015, lot 120. The practice of naming royal
weapons is something that was mentioned by Niccolao Manucci (1639-1717), the The blade of our sword is punched near the sharp edge with a further indication
Italian traveler and author of ‘Storia do Morgor’, an important account of the later of Alamgir’s ownership, a stamp inscribed Alamgir Shahi. A blade with tulwar hilt
reign of Shah Jahan and that of Aurangzeb. His account includes a list of names bearing a similar punch, dated 1072/1661 and also bearing the parasol, is in the
which belonged to some of the Emperor Aurangzeb’s weapons which included Furusiyya Art Foundation Collection (Mohammed, 2007, p. 100, cat. 64).
the likes of ‘Killer of Enemies, Tyrant-Slayer, Violent Stroke, Without Fault, Army-
For a similar imperial sword from the reign of Shah Jahan please see the
Vanquisher, Hand’s Friend, Waist-Adorner and World Conqueror’ - that which
preceding lot.
Aurangzeb was said most usually to carry in his hand (Manucci, quoted in Abdul

(alternate views)

538 IMAGES OF REDUCED SIZE


IMAGES OF REDUCED SIZE 539
383
A PAIR OF ART DECO EMERALD, NATURAL PEARL,
RUBY AND DIAMOND CLIPS, CARTIER

Oval-shaped carved emerald of 93.85 carats, hexagonal-shaped carved


emerald of 56.40 carats, natural pearls, ruby beads, single and old-cut
diamonds, platinum (French marks), 2 and 1⅞ ins., 1938, hexagon emerald
19th century, oval emerald 19th century or later, each signed Cartier, each no.
38-17151, accompanied by a modern hinged 18k blackened gold cuf bracelet
with fttings for the brooches, diameter 2⅛ ins., made by Cartier,
no. HSA 40221
Cartier, 2013: Certifcate of Authenticity
AGL, 2019, report no. 1100338: Colombia,
insignifcant to minor clarity enhancement, traditional type

EXHIBITED AND CATALOGUED:


The Miho Museum, Koka 2016, p. 188, no. 149
Grand Palais, Paris 2017, p. pp. 326-27, no. 240
The Doge’s Palace, Venice 2017, p. 316, no. 217
The Palace Museum, Beijing 2018, p. 330, no. 221
de Young Legion of Honor, San Francisco 2018, p. 183, no. 130

(actual size)

540
541
384
PORTRAIT OF PRINCE KHURRAM, LATER SHAH JAHAN
MUGHAL INDIA, CIRCA 1620

Opaque pigments and gold on paper, in colored borders on gold-fecked


cream album leaf, backed on cream card
Painting 6⅜ x 4⅛ ins. (16.2 x 10.3 cm.); folio 12⅜ x 8¾ ins. (31.2 x 22.3 cm.)

542
IMAGE OF ENLARGED SIZE
385
SHAH JAHAN PRESENTS JEWELS TO A PRINCESS
DELHI, INDIA, 18TH CENTURY

Opaque pigments and gold on paper, on foral illuminated album leaf within gold illuminated borders,
the reverse with a calligraphic panel with two lines of Persian poetry in nasta'liq
Painting 9¼ x 6⅞ ins. (23.5 x 17.4 cm.); folio 20¾ x 14¾ ins. (52.5 x 37.5 cm.);
calligraphic panel 10¾ x 6⅞ ins. (27.2 x 17.7 cm.)

544 IMAGE OF REDUCED SIZE


386
'THE SHAH JAHAN SEAL RING’
AN ANTIQUE SPINEL AND ENAMEL RING

Fluted spinel half-bead, blue enamel, gold, ring


size 5, spinel dated 1643-44, ring late 19th or
early 20th century

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 2015,
p. 42, no. 4
The Miho Museum, Koka 2016, p. 78, no. 49
Grand Palais, Paris 2017, p. 56, no. 37
The Doge’s Palace, Venice 2017, p. 83, no. 40 (actual size)
The Palace Museum, Beijing 2018, p. 97, no. 41
de Young Legion of Honor, San Francisco 2018,
p. 58, no. 9

INSCRIBED:
Second Lord of the Auspicious Conjunction 1053 16

545
546
T H E SH A H JA H A N DAG G E R

This dagger, one of the masterpieces of Mughal art, Album, V -1925; New York, 2014, p.27). A second depiction,
demonstrates in one piece so many diferent elements which, again a historical representation, painted about 5 years later,
when fused together, gave Mughal Art its character. The jade shows a dagger with human head terminal in the waistband of
stone that was used for the hilt would have come from Kashgar Prince Khurram (the future Shah Jahan) as he greets his father
in present-day Xinjiang, western China; the trade that brought in a depiction in the Padshahnama in Windsor Castle attributed
the jade to the Mughal court is well documented (Markel, 2008: to `Abid (Jafer, 2013, p. 22). The blade of the dagger is inscribed
note 5 details the principal sources). The scrolling designs inlaid with the title sahib qiran thani, the Second Lord of the [Celestial]
in gold at the top of the blade, together with the nasta`liq script Conjunction, a title taken by Shah Jahan that also enforced the
in which the short inscription is written, are, both stylistically Mughal lineage since the original Sahib Qiran was Timur, back
and technically, imports from the Iranian world, part of the to whom the Mughals traced their lineage. The parasol (chhatri)
substantial artistic input from there to India in the early Mughal motif inlaid on one side of the blade is a further royal indicator. It
period. A recently rediscovered dagger made in Herat in the late is an ancient Indian motif indicating royalty or divinity, appearing
15th century, now in the Wallace Collection shows both these above the heads of many central fgures in mediaeval stone
features (Sotheby's, London, 26 May 1933, lot 65). sculpture. Its absence of further titles emphasizes the personal
nature of this dagger. The earliest blade yet noted that bears
The carved jade head represents the European contribution, this motif is a sword made for Jahangir dating from early in his
both in its three-dimensional carving, which is thought to reign in 1027/1608; under Shah Jahan and Aurangzeb it was
have been infuenced by and also in the subject matter itself. frequently employed on royal edged weapons.
It has been suggested that it was either created by or else
heavily infuenced by the work of European lapidaries working Previous descriptions of this dagger have noted that the
at the Mughal court. What is certain is that the subject is of closest depiction of a human headed dagger is depicted in the
European origin. One scholar posits that it derives from an waistband of the young Jahangir, and that the use of a very pale
Indo-Portuguese head of Christ as the Good Shepherd (San green jade rather than a pure white is another indication of a
Francisco, 2018, no.26). Another suggests that the source was Jahangiri rather than a Shah Jahani commission for the jade.
the classic depiction of a young European man, complete with They have tried to resolve this with the clear inscription on the
earring, showing its resemblance to an Indian drawing after blade that indicates Shah Jahan. It has been suggested that
a European print dating from 1600-1610 now in the Bodleian the blade was replaced when it was inherited by Shah Jahan
Library, Oxford (London, 2015). It has also been thought to (London 1982 and others), that the inscription was added to an
derive from depictions of cherubs which, having been imported earlier plain blade (London 2015) or that the commission
from Europe, appear in royal context in many Mughal paintings. took place at the start of Shah Jahan’s reign 1629-1636 (Paris
None of these options however really account for what is 2017 and others). It is true that the taste of the hilt with its
clearly a ruf around the neck; in some ways the most European color and its use of the human face (Elgood, 2004, pp.83-85) is
feature of all. Whatever the most immediate source, there is no more what one would expect of the reign of Jahangir. A further
doubt that it is a real masterpiece of hardstone carving, entirely possibility is that the hilt was indeed carved under Jahangir,
consistent with royal Mughal work of the highest quality. but had not had a blade added at the time that he died. The
blade having just been added under his son Shah Jahan would
Two Mughal paintings depict a dagger of this form with a human also explain why the posthumous painting of Prince Salim by
head terminal, in a scabbard hanging from a royal waistband. Bichitr honours him showing him wearing the extraordinary and
One is a historical portrait of Prince Salim, the future emperor unparalleled dagger which had just appeared in complete form
Jahangir, examining a mirror of very European taste, painted by at the court of Shah Jahan.
Bichitr in around 1630, shortly after the subject had died (Minto

547
387
THE SHAH JAHAN DAGGER (KARD)
NORTH INDIA, HILT 1620-1630

With carved jade hilt and watered-steel blade


11⅝ ins. (29.7 cm.) long; hilt 4⅜ ins. (11.1 cm.) long

PROVENANCE:
By repute, Samuel Morse
Christie’s, London, 17 April 1974, lot 142
Private Collection

EXHIBITED AND CATALOGUED:


Victoria and Albert Museum, London 1982, p.128, no. 406
Paris 1988, pp.93, 182, no.149
Metropolitan Museum of Art, New York 2014, pp.24, 26-27
Victoria and Albert Museum, London 2015, p.62, no.24
The Miho Museum, Koka 2016, p.75, no.46
Grand Palais, Paris 2017, pp.78-79, no.48
The Doge’s Palace, Venice 2017, p.99. no.51
The Palace Museum, Beijing 2018, p.114. no.52
de Young Legion of Honor, San Francisco 2018, p. 82, no. 26

LITERATURE:
Welch 1985, pp.202-03
Haidar 1991, p.212
Elgood 2004, pp.83-85, fg.9
Jafer 2013, pp.23, 91, no.4

INSCRIBED:
In Persian: sahib-i qiran-i sani 2 (or 9) ‘Second Lord of the
Auspicous Conjunction 2 (or 9)’

(detail)

548 IMAGE OF REDUCED SIZE


IMAGE OF REDUCED SIZE
550
T H E TAJ M A H A L E M E R A L D

The International Exhibition of Modern


Decorative and Industrial Arts took place in Paris in 1925. In a
spirit of modernism and innovation, only works of art that were
revolutionary in design were accepted. It was an exemplary
moment in the Art Deco era.

Cartier presented more than 100 pieces, several especially


created for this event, including the famous ‘Collier Bérénice’.
Created by the Renault workshop, one of Cartier’s fnest, this
ornament was meant to be draped over one’s shoulders, hanging
at the back, without a clasp. Set with emeralds, onyx, pearls
and diamonds, it centered upon an antique hexagonal-shaped
carved emerald. This emerald was later named the 'Taj Mahal
opposite: A sketch of the
Cartier vitrine at the 1925 Emerald' for the carved foral engravings that were reminiscent
Exhibition of Modern of the colored stone inlay of the Taj Mahal. Immensely creative,
Industrial and Decorative Arts.
this jewel was widely publicized and appeared in several
La Gazette du Bon Ton, publications.
Paris, 1925

right: Vitrine at the 1925 The unsold pieces from the Exhibition were redesigned by
Exhibition of Modern Industrial
and Decorative Arts in Paris,
Cartier and the gemstones were used to create new jewels.
displaying the Berenice set: the That was the case of the ‘Collier Bérénice’. The whereabouts of
shoulder necklace and tiara. this treasure of nature remained unknown for most of the 20th
Cartier Archives © Cartier century, until its re-discovery in the 1990s.

551
388
'THE TAJ MAHAL EMERALD'
CARVED EMERALD AND DIAMOND BROOCH, CARTIER

Hexagonal-shaped carved tablet emerald of 141.13 carats, circular-cut


diamonds, platinum and 18k white gold (French marks), 2⅛ ins., 2012,
signed Cartier, no. TI9645, red Cartier case inscribed 'Taj Mahal' emerald
AGL, 2019, report no. 11003346: 141.13 carats, Colombia,
no clarity enhancement

PROVENANCE:
Mr. Montague Stanley Napier
Precious Stones Inc. of New York
Christie's, New York, 21 October 2009, lot 1187

EXHIBITED AND CATALOGUED:


Los Angeles 1989, p. 141, no. 143
Metropolitan Museum of Art, New York 2014, pp. 106-107
Victoria and Albert Museum, London 2015, pp. 132-133, no. 77
The Miho Museum, Koka 2016, p. 34, no. 11
Grand Palais, Paris 2017, p. 322, no. 237
The Doge’s Palace, Venice 2017, p. 318, no. 218
The Palace Museum, Beijing 2018, p. 332, no. 222
de Young Legion of Honor, San Francisco 2018, p. 54, no. 8

LITERATURE:
Rudoe 1997, p. 316-319, no. 269
Untracht 1997, p. 330, no. 746
Bala Krishnan and Kumar 1999, p. 46, fg. 45
Jafer 2013, p. 95, no. 14

(actual size)

552
I N DE X

B
Bhagat, 37, 38, 39
Bulgari, 270

C
Cartier, 10, 40, 68, 96, 97, 110, 130, 166, 167, 168, 169,
224, 225, 227, 228, 271, 272, 274, 277, 383, 388

F
Frodsham, C., 6

J
Janesich, 94
JAR, 147, 148

L
Lacloche Frères, 134
Linzler, R., 356

M
Marzo, 95
Mauboussin, 133
Mellerio dits Meller, 131

S
Seeland, 4

T
Tifany & Co., 67

554
555
G L OS SA RY

Ankus: Haldili: Painted enameling:


a hook with a handle, used in elephant handling and jade amulet to protect against palpitations, lightning, glass paste enamel painted onto the metal object in
training. The hook is usually metal and the handle etc. worn by Muslims in India a liquid form before fring
may measure as long as a meter. When highly
Huqqah: Paizeb:
ornamented or precious it has a ceremonial purpose.
water pipe anklet
Arabesque:
Jadanagam: Pān:
decorative design associated with the Islamic world
a long plait ornament, typically worn over a braid mild stimulant, the leaf of the betel, Piper betel,
consisting of interlacing foliate scroll-work, often
chewed with dried arecanut, prepared lime and other
symmetrical, with palmettes, fowers, and buds. Jigha:
substances, popular all over the Indian subcontinent
turban ornament
Basse-taille enameling:
Pāndān:
translucent colored glass pastes covering an Kada:
box for pān
engraved or chased metallic surface, usually in bangle or bracelet
gold or silver, in low relief. Basse-taille enameling, Pommel:
in contrast to champlevé, is normally employed on Kalgi:
counterweight at the apex of the grip of swords
relatively extensive surfaces. a plume, generally of heron feathers, placed in turban
and daggers
ornaments such as the sarpech
Bāzūband: Quillon:
armlet worn on the upper arm Karan-phul:
extended crosspiece between the grip and the blade
(fower jewel) ear ornament worn in Rajasthan and
of an edged weapon serving as a guard for the wrist,
Cabochon: north India
common in European arms
smooth dome-shaped gem, unfaceted but polished
Kārd:
Repoussé:
Champlevé enameling: knife
sheet metal worked from the back to create a design
colored glass pastes flling the sunken relief of an
Kūftah-garī: in relief
engraved or chased metallic (usually gold or silver)
surface. The most common type of enamel in India, damascening; the inlay or application of gold or silver
Sarpatti:
probably adopted from Europe. to a prepared metal surface, usually brass, iron or
turban ornament of pointed oval shape often worn in
steel, with intricate designs
combination with a sarpech
Chape:
metal mount at the end of a scabbard or sheath to Kundan:
Sarpech:
protect the tip of a blade, often made of precious ancient Indian jewellers’ technique for setting gems
turban ornament shaped like a feather, related to the
metal and highly decorated. at room temperature, in which ‘hyper-purifed’ gold
European aigrette. It was worn, as a sign of high rank,
(or occasionally silver) foil becomes solid through
at the courts of both Hindu and Muslim India, and at
Chatr: molecular fusion
the Safavid and Ottoman courts
regal umbrella, in the Indian subcontinent an ancient
symbol/insignia of royalty Lac:
Taveez:
resinous secretion from the scale insect (Coccus
an amulet invested with protective and prophylactic
Chauri: lacca), widely employed by Indian jewelers to form
properties
fy-whisk often made of a yak’s tail, an ancient Indian the core of most gold jewellery
symbol of royalty, also used by the nobility Tikka:
Locket:
a jeweled ornament without a kalgi that encircles the
Cloisonné enameling: metal mount near the mouth of a scabbard or sheath
turban front
colored glass pastes flling small partitions or to reinforce it, often made by precious metal and
cloisons created by fattened wires fused to a metal highly decorated Watering:
base plate. wavy patterns on silks or on steel blades. The latter
Makara:
are often termed ‘Damascus steel’
Damascened: mythical water monster, with crocodile head and
term designating various metal techniques, including body, fsh scales and tail, sometimes with elephant
inlaying a precious metal into another metal (see also tusks. It has been used as a decorative motif in India
kūftah-garī) since ancient times
Filigree: Nasta’līq:
delicate ornamental work of twisted gold or silver elegant cursive Arabic calligraphic script, commonly
wire, often forming open-work decoration used in both Safavid Persia and Mughal India
Gold on a lac core: Nath:
distinguished characteristics of Indian jeweled a gold nose ring of wire, strung with pearls, rubies or
objects; lac is derived from resin gathered from emeralds
trees. The resin is purifed and mixed with antimony
sulphate to form a compound that is then melted and Nephrite:
poured into the gold objects to form solid cores one of the two minerals commonly known as jade
(the other being jadeite)
Hadith:
recorded tradition(s) regarding deeds or sayings Niello:
of the Prophet Muhammad in the light of which the black substance made by melting powdered silver,
text of the Qur’an may be interpreted or a principle lead, copper, Sulphur and borax, used as a flling
of law explained for incised decoration and fxed by the application
of heat

opposite:
Lot 278

557
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CON DI T ION S OF SA L E • BU Y I NG AT C H R I S T I E ’ S

CONDITIONS OF SALE 6 WITHDRAWAL (b) We may also ask you to give us a financial reference C CONDUCTING THE SALE
These Conditions of Sale and the Important Notices and Christie’s may, at its option, withdraw any lot from and/or a deposit as a condition of allowing you to 1 WHO CAN ENTER THE AUCTION
Explanation of Cataloguing Practice set out the terms on auction at any time prior to or during the sale of the bid. For help, please contact our Credit Department We may, at our option, refuse admission to our premises
which we offer the lots listed in this catalogue for sale. lot. Christie’s has no liability to you for any decision at +1 212-636-2490. or decline to permit participation in any auction or to
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agree to these terms, so you should read them carefully 2 RETURNING BIDDERS
before doing so. You will find a glossary at the end 7 JEWELLERY As described in paragraph B(1) above, we may at our 2 RESERVES
explaining the meaning of the words and expressions (a) Coloured gemstones (such as rubies, sapphires and option ask you for current identification, a financial Unless otherwise indicated, all lots are subject to a reserve.
coloured in bold. emeralds) may have been treated to improve their reference, or a deposit as a condition of allowing you to We identify lots that are offered without reserve with the
look, through methods such as heating and oiling. bid. If you have not bought anything from any of our symbol • next to the lot number. The reserve cannot be
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Christie’s acts as agent for the seller. jewellery trade but may make the gemstone less spend more than on previous occasions, please contact
strong and/or require special care over time. our Credit Department at +1 212-636-2490. 3 AUCTIONEER’S DISCRETION
A BEFORE THE SALE (b) All types of gemstones may have been improved The auctioneer can at his or her sole option:
1 DESCRIPTION OF LOTS by some method. You may request a gemmological 3 IF YOU FAIL TO PROVIDE THE (a) refuse any bid;
(a) Certain words used in the catalogue description have report for any item which does not have a report if RIGHT DOCUMENTS (b) move the bidding backwards or forwards in any way
special meanings. You can find details of these on the the request is made to us at least three weeks before If in our opinion you do not satisfy our bidder he or she may decide, or change the order of the lots;
page headed “Important Notices and Explanation the date of the auction and you pay the fee for identification and registration procedures including, but (c) withdraw any lot;
of Cataloguing Practice” which forms part of these the report. not limited to completing any anti-money laundering (d) divide any lot or combine any two or more lots;
terms. You can find a key to the Symbols found next (c) We do not obtain a gemmological report for and/or anti-terrorism financing checks we may require (e) reopen or continue the bidding even after the
to certain catalogue entries under the section of the every gemstone sold in our auctions. Where we to our satisfaction, we may refuse to register you to bid, hammer has fallen; and
catalogue called “Symbols Used in this Catalogue”. do get gemmological reports from internationally and if you make a successful bid, we may cancel the (f) in the case of error or dispute related to bidding
(b) Our description of any lot in the catalogue, any accepted gemmological laboratories, such reports contract for sale between you and the seller. and whether during or after the auction, continue
condition report and any other statement made will be described in the catalogue. Reports from the bidding, determine the successful bidder, cancel
by us (whether orally or in writing) about any American gemmological laboratories will describe 4 BIDDING ON BEHALF OF the sale of the lot, or reoffer and resell any lot.
lot, including about its nature or condition, any improvement or treatment to the gemstone. ANOTHER PERSON If you believe that the auctioneer has accepted the
artist, period, materials, approximate dimensions, Reports from European gemmological laboratories If you are bidding on behalf of another person, successful bid in error, you must provide a written
or provenance are our opinion and not to be will describe any improvement or treatment only that person will need to complete the registration notice detailing your claim within 3 business days
relied upon as a statement of fact. We do not carry if we request that they do so, but will confirm requirements above before you can bid, and supply of the date of the auction. The auctioneer will
out in-depth research of the sort carried out by when no improvement or treatment has been a signed letter authorising you to bid for him/her. A consider such claim in good faith. If the auctioneer,
professional historians and scholars. All dimensions made. Because of differences in approach and bidder accepts personal liability to pay the purchase in the exercise of his or her discretion under this
and weights are approximate only. technology, laboratories may not agree whether a price and all other sums due unless it has been agreed paragraph, decides after the auction is complete, to
particular gemstone has been treated, the amount in writing with Christie’s, before commencement of the cancel the sale of a lot, or reoffer and resell a lot,
2 OUR RESPONSIBILITY FOR OUR of treatment, or whether treatment is permanent. auction, that the bidder is acting as an agent on behalf he or she will notify the successful bidder no later
DESCRIPTION OF LOTS The gemmological laboratories will only report of a named third party acceptable to Christie’s and that than by the end of the 7th calendar day following the
We do not provide any guarantee in relation to the on the improvements or treatments known to the Christie’s will only seek payment from the named date of the auction. The auctioneer’s decision in
nature of a lot apart from our authenticity warranty laboratories at the date of the report. third party. exercise of this discretion is final. This paragraph
contained in paragraph E2 and to the extent provided in (d) For jewellery sales, estimates are based on the does not in any way prejudice Christie’s ability
paragraph I below. information in any gemmological report. If no 5 BIDDING IN PERSON to cancel the sale of a lot under any other applicable
report is available, assume that the gemstones may If you wish to bid in the saleroom you must register for a provision of these Conditions of Sale, including the
3 CONDITION have been treated or enhanced. numbered bidding paddle at least 30 minutes before the rights of cancellation set forth in sections B(3),
(a) The condition of lots sold in our auctions can vary auction. You may register online at www.christies.com E(2)(i), F(4), and J(1).
widely due to factors such as age, previous damage, 8 WATCHES & CLOCKS or in person. For help, please contact the Credit
restoration, repair and wear and tear. Their nature (a) Almost all clocks and watches are repaired in their Department on +1 212-636-2490. 4 BIDDING
means that they will rarely be in perfect condition. lifetime and may include parts which are not original. The auctioneer accepts bids from:
Lots are sold “as is,” in the condition they are in at We do not give a warranty that any individual 6 BIDDING SERVICES (a) bidders in the saleroom;
the time of the sale, without any representation or component part of any watch is authentic. The bidding services described below are a free service (b) telephone bidders;
warranty or assumption of liability of any kind as to Watchbands described as “associated” are not part of offered as a convenience to our clients and Christie’s (c) internet bidders through ‘Christie’s LIVE™ (as
condition by Christie’s or by the seller. the original watch and may not be authentic. Clocks is not responsible for any error (human or otherwise), shown above in paragraph B6); and
(b) Any reference to condition in a catalogue entry may be sold without pendulums, weights or keys. omission, or breakdown in providing these services. (d) written bids (also known as absentee bids or
or in a condition report will not amount to a (b) As collectors’ watches often have very fine and (a) Phone Bids commission bids) left with us by a bidder before
full description of condition, and images may not complex mechanisms, you are responsible for any Your request for this service must be made no the auction.
show a lot clearly. Colours and shades may look general service, change of battery, or further repair later than 24 hours prior to the auction. We will
different in print or on screen to how they look work that may be necessary. We do not give a accept bids by telephone for lots only if our staff 5 BIDDING ON BEHALF OF THE SELLER
on physical inspection. Condition reports may be warranty that any watch is in good working order. are available to take the bids. If you need to bid in a The auctioneer may, at his or her sole option, bid
available to help you evaluate the condition of a Certificates are not available unless described in the language other than in English, you must arrange this on behalf of the seller up to but not including the
lot. Condition reports are provided free of charge catalogue. well before the auction. We may record telephone amount of the reserve either by making consecutive
as a convenience to our buyers and are for guidance (c) Most wristwatches have been opened to find out bids. By bidding on the telephone, you are agreeing bids or by making bids in response to other bidders.
only. They offer our opinion but they may not refer the type and quality of movement. For that reason, to us recording your conversations. You also agree The auctioneer will not identify these as bids made on
to all faults, inherent defects, restoration, alteration wristwatches with water resistant cases may not be that your telephone bids are governed by these behalf of the seller and will not make any bid on behalf
or adaptation because our staff are not professional waterproof and we recommend you have them Conditions of Sale. of the seller at or above the reserve. If lots are offered
restorers or conservators. For that reason condition checked by a competent watchmaker before use. (b) Internet Bids on Christie’s LIVE™ without reserve, the auctioneer will generally decide
reports are not an alternative to examining a lot in Important information about the sale, transport and For certain auctions we will accept bids over to open the bidding at 50% of the low estimate for the
person or seeking your own professional advice. It is shipping of watches and watchbands can be found in the Internet. For more information, please visit lot. If no bid is made at that level, the auctioneer may
your responsibility to ensure that you have requested, paragraph H2(f). https://www.christies.com/buying-services/ decide to go backwards at his or her sole option until a
received and considered any condition report. buying-guide/register-and-bid/ As well as these bid is made, and then continue up from that amount. In
B REGISTERING TO BID Conditions of Sale, internet bids are governed by the the event that there are no bids on a lot, the auctioneer
4 VIEWING LOTS PRE-AUCTION 1 NEW BIDDERS Christie’s LIVE™ Terms of Use which are available may deem such lot unsold.
(a) If you are planning to bid on a lot, you should (a) If this is your first time bidding at Christie’s or you on is https://www.christies.com/LiveBidding/
inspect it personally or through a knowledgeable are a returning bidder who has not bought anything OnlineTermsOfUse. 6 BID INCREMENTS
representative before you make a bid to make sure from any of our salerooms within the last two years (c) Written Bids Bidding generally starts below the low estimate and
that you accept the description and its condition. you must register at least 48 hours before an auction You can find a Written Bid Form at the back of our increases in steps (bid increments). The auctioneer will
We recommend you get your own advice from a begins to give us enough time to process and approve catalogues, at any Christie’s office, or by choosing the decide at his or her sole option where the bidding should
restorer or other professional adviser. your registration. We may, at our option, decline to sale and viewing the lots online at www.christies. start and the bid increments. The usual bid increments
(b) Pre-auction viewings are open to the public free of permit you to register as a bidder. You will be asked com. We must receive your completed Written are shown for guidance only on the Written Bid Form at
charge. Our specialists may be available to answer for the following: Bid Form at least 24 hours before the auction. Bids the back of this catalogue.
questions at pre-auction viewings or by appointment. (i) for individuals: Photo identification (driver’s must be placed in the currency of the saleroom. The
licence, national identity card, or passport) and, auctioneer will take reasonable steps to carry out 7 CURRENCY CONVERTER
5 ESTIMATES if not shown on the ID document, proof of your written bids at the lowest possible price, taking into The saleroom video screens (and Christies LIVE™) may
Estimates are based on the condition, rarity, quality current address (for example, a current utility bill account the reserve. If you make a written bid on show bids in some other major currencies as well as US
and provenance of the lots and on prices recently or bank statement); a lot which does not have a reserve and there is no dollars. Any conversion is for guidance only and we
paid at auction for similar property. Estimates can (ii) for corporate clients: Your Certificate of higher bid than yours, we will bid on your behalf at cannot be bound by any rate of exchange used. Christie’s
change. Neither you, nor anyone else, may rely on any Incorporation or equivalent document(s) around 50% of the low estimate or, if lower, the is not responsible for any error (human or otherwise),
estimates as a prediction or guarantee of the actual showing your name and registered address amount of your bid. If we receive written bids on a omission or breakdown in providing these services.
selling price of a lot or its value for any other purpose. together with documentary proof of directors and lot for identical amounts, and at the auction these are
Estimates do not include the buyer’s premium or beneficial owners; and the highest bids on the lot, we will sell the lot to the
any applicable taxes. (iii) for trusts, partnerships, offshore companies and bidder whose written bid we received first.
other business structures, please contact us in
advance to discuss our requirements.

opposite:
Lot 277
© Denis Hayoun / Diode SA

561
8 SUCCESSFUL BIDS 2 OUR AUTHENTICITY WARRANTY (b) To make a claim under this paragraph you must (iv) Bank Checks
Unless the auctioneer decides to use his or her We warrant, subject to the terms below, that the lots in give written details of the defect and return the You must make these payable to Christie’s Inc.
discretion as set out in paragraph C3 above, when the our sales are authentic (our “authenticity warranty”). lot to the sale room at which you bought it in and there may be conditions.
auctioneer’s hammer strikes, we have accepted the If, within 5 years of the date of the auction, you give the same condition as at the time of sale, within (v) Checks
last bid. This means a contract for sale has been formed notice to us that your lot is not authentic, subject to the 21 days of the date of the sale. You must make checks payable to Christie’s Inc.
between the seller and the successful bidder. We will terms below, we will refund the purchase price paid (k) South East Asian Modern and Contemporary and they must be drawn from US dollar accounts
issue an invoice only to the registered bidder who by you. The meaning of authentic can be found in the Art and Chinese Calligraphy and Painting. from a US bank.
made the successful bid. While we send out invoices by glossary at the end of these Conditions of Sale. The terms In these categories, the authenticity warranty (d) You must quote the sale number, your invoice
mail and/or email after the auction, we do not accept of the authenticity warranty are as follows: does not apply because current scholarship does not number and client number when making a payment.
responsibility for telling you whether or not your bid (a) It will be honored for claims notified within a permit the making of definitive statements. Christie’s All payments sent by post must be sent to:
was successful. If you have bid by written bid, you period of 5 years from the date of the auction. After does, however, agree to cancel a sale in either of Christie’s Inc. Post-Sale Services,
should contact us by telephone or in person as soon as such time, we will not be obligated to honor the these two categories of art where it has been proven 20 Rockefeller Center, New York, NY 10020.
possible after the auction to get details of the outcome authenticity warranty. the lot is a forgery. Christie’s will refund to the (e) For more information please contact our Post-Sale
of your bid to avoid having to pay unnecessary storage (b) It is given only for information shown in original buyer the purchase price in accordance Services by phone at +1 212 636 2650 or fax at +1
charges. UPPERCASE type in the first line of the with the terms of Christie’s Authenticity Warranty, 212 636 4939 or email [email protected].
catalogue description (the “Heading”). It does provided that the original buyer notifies us with full
9 LOCAL BIDDING LAWS not apply to any information other than in the supporting evidence documenting the forgery claim 2 TRANSFERRING OWNERSHIP TO YOU
You agree that when bidding in any of our sales that you Heading even if shown in UPPERCASE type. within twelve (12) months of the date of the auction. You will not own the lot and ownership of the lot will
will strictly comply with all local laws and regulations in (c) The authenticity warranty does not apply to any Such evidence must be satisfactory to us that the not pass to you until we have received full and clear
force at the time of the sale for the relevant sale site. Heading or part of a Heading which is qualified. property is a forgery in accordance with paragraph payment of the purchase price, even in circumstances
Qualified means limited by a clarification in a lot’s E2(h)(ii) above and the property must be returned where we have released the lot to you.
D THE BUYER’S PREMIUM AND TAXES catalogue description or by the use in a Heading to us in accordance with E2h(iii) above. Paragraphs
1 THE BUYER’S PREMIUM of one of the terms listed in the section titled E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a 3 TRANSFERRING RISK TO YOU
Qualified Headings on the page of the catalogue claim under these categories. The risk in and responsibility for the lot will transfer to
In addition to the hammer price, the successful bidder
agrees to pay us a buyer’s premium on the hammer headed “Important Notices and Explanation of you from whichever is the earlier of the following:
price of each lot sold. On all lots we charge 25% of the Cataloguing Practice”. For example, use of the term 3 YOUR WARRANTIES (a) When you collect the lot; or
hammer price up to and including US$300,000, 20% “ATTRIBUTED TO…” in a Heading means that (a) You warrant that the funds used for settlement are (b) At the end of the 30th day following the date of the
on that part of the hammer price over US$300,000 the lot is in Christie’s opinion probably a work by not connected with any criminal activity, including auction or, if earlier, the date the lot is taken into
and up to and including US$4,000,000, and 13.5% of the named artist but no warranty is provided that tax evasion, and you are neither under investigation, care by a third party warehouse as set out on the page
that part of the hammer price above US$4,000,000. the lot is the work of the named artist. Please read nor have you been charged with or convicted of headed ‘Storage and Collection’, unless we have
the full list of Qualified Headings and a lot’s full money laundering, terrorist activities or other crimes. agreed otherwise with you.
2 TAXES catalogue description before bidding. (b) where you are bidding on behalf of another person,
(d) The authenticity warranty applies to the you warrant that: 4 WHAT HAPPENS IF YOU DO NOT PAY
The successful bidder is responsible for any applicable
Heading as amended by any Saleroom Notice. (i) you have conducted appropriate customer due (a) If you fail to pay us the purchase price in full by
taxes including any sales or use tax or equivalent tax
(e) The authenticity warranty does not apply where diligence on the ultimate buyer(s) of the lot(s) in the due date, we will be entitled to do one or more
wherever such taxes may arise on the hammer price,
scholarship has developed since the auction leading accordance with all applicable anti-money of the following (as well as enforce our rights under
the buyer’s premium, and/or any other charges
to a change in generally accepted opinion. Further, laundering and sanctions laws, consent to us paragraph F5 and any other rights or remedies we
related to the lot.
it does not apply if the Heading either matched the relying on this due diligence, and you will retain have by law):
For lots Christie’s ships to or within the United States,
generally accepted opinion of experts at the date of the for a period of not less than 5 years the (i) we can charge interest from the due date at a rate of
a sales or use tax may be due on the hammer price,
auction or drew attention to any conflict of opinion. documentation evidencing the due diligence. up to 1.34% per month on the unpaid amount due;
buyer’s premium, and/or any other charges related
(f) The authenticity warranty does not apply if the You will make such documentation promptly (ii) we can cancel the sale of the lot. If we do this,
to the lot, regardless of the nationality or citizenship
lot can only be shown not to be authentic by a available for immediate inspection by an we may sell the lot again, publically or privately
of the successful bidder. Christie’s will collect sales tax
scientific process which, on the date we published independent third-party auditor upon our written on such terms we shall think necessary or
where legally required. The applicable sales tax rate will
the catalogue, was not available or generally accepted request to do so; appropriate, in which case you must pay us any
be determined based upon the state, county, or locale
for use, or which was unreasonably expensive or (ii) the arrangements between you and the ultimate shortfall between the purchase price and the
to which the lot will be shipped. Christie’s shall collect
impractical, or which was likely to have damaged buyer(s) in relation to the lot or otherwise do not, proceeds from the resale. You must also pay all
New York sales tax at a rate of 8.875% for any lot
the lot. in whole or in part, facilitate tax crimes; costs, expenses, losses, damages and legal fees we
collected from Christie’s in New York.
(g) The benefit of the authenticity warranty is only (iii) you do not know, and have no reason to suspect, have to pay or may suffer and any shortfall in the
In accordance with New York law, if Christie’s arranges
available to the original buyer shown on the invoice that the funds used for settlement are connected seller’s commission on the resale;
the shipment of a lot out of New York State, New
for the lot issued at the time of the sale and only if with, the proceeds of any criminal activity, (iii) we can pay the seller an amount up to the net
York sales tax does not apply, although sales tax or other
on the date of the notice of claim, the original buyer including tax evasion, or that the ultimate buyer(s) proceeds payable in respect of the amount bid
applicable taxes for other states may apply. If you hire
is the full owner of the lot and the lot is free from are under investigation, or have been charged by your default in which case you acknowledge
a shipper (other than a common carrier authorized by
any claim, interest or restriction by anyone else. The with or convicted of money laundering, terrorist and understand that Christie’s will have all of
Christie’s), to collect the lot from a Christie’s New York
benefit of this authenticity warranty may not be activities or other crimes. the rights of the seller to pursue you for
location, Christie’s must collect New York sales tax
on the lot at a rate of 8.875% regardless of the ultimate transferred to anyone else. such amounts;
destination of the lot. (h) In order to claim under the authenticity warranty F PAYMENT (iv) we can hold you legally responsible for
If Christie’s delivers the lot to, or the lot is collected you must: 1 HOW TO PAY the purchase price and may begin legal
by, any framer, restorer or other similar service provider (i) give us written notice of your claim within 5 years (a) Immediately following the auction, you must pay proceedings to recover it together with other
in New York that you have hired, New York law of the date of the auction. We may require full the purchase price being: losses, interest, legal fees and costs as far as we are
considers the lot delivered to the successful bidder in details and supporting evidence of any such claim; (i) the hammer price; and allowed by law;
New York and New York sales tax must be imposed (ii) at Christie’s option, we may require you to (ii) the buyer’s premium; and (v) we can take what you owe us from any amounts
regardless of the ultimate destination of the lot. In this provide the written opinions of two recognised (iii) any applicable duties, goods, sales, use, which we or any company in the Christie’s
circumstance, New York sales tax will apply to the lot experts in the field of the lot mutually agreed by compensating or service tax, or VAT. Group may owe you (including any deposit or
even if Christie’s or a common carrier (authorized by you and us in advance confirming that the lot is Payment is due no later than by the end of the other part-payment which you have paid to us);
Christie’s that you hire) subsequently delivers the lot not authentic. If we have any doubts, we reserve 7th calendar day following the date of the auction (vi) we can, at our option, reveal your identity and
outside New York. the right to obtain additional opinions at our (the “due date”). contact details to the seller;
Successful bidders claiming an exemption from sales tax expense; and (b) We will only accept payment from the registered (vii) we can reject at any future auction any bids made
must provide appropriate documentation to Christie’s (iii) return the lot at your expense to the saleroom bidder. Once issued, we cannot change the buyer’s by or on behalf of the buyer or to obtain a
prior to the release of the lot or within 90 days after from which you bought it in the condition it name on an invoice or re-issue the invoice in a different deposit from the buyer before accepting any bids;
the sale, whichever is earlier. For shipments to those was in at the time of sale. name. You must pay immediately even if you want to (viii) we can exercise all the rights and remedies of
states for which Christie’s is not required to collect sales (i) Your only right under this authenticity warranty export the lot and you need an export licence. a person holding security over any property
tax, a successful bidder may have a use or similar tax is to cancel the sale and receive a refund of the (c) You must pay for lots bought at Christie’s in the in our possession owned by you, whether by
obligation. It is the successful bidder’s responsibility to pay all purchase price paid by you to us. We will not, United States in the currency stated on the invoice in way of pledge, security interest or in any other
taxes due. Christie’s recommends you consult your own under any circumstances, be required to pay you one of the following ways: way as permitted by the law of the place where
independent tax advisor with any questions. more than the purchase price nor will we be liable (i) Wire transfer such property is located. You will be deemed
for any loss of profits or business, loss of opportunity JP Morgan Chase Bank, N.A., to have granted such security to us and we may
or value, expected savings or interest, costs, damages, 270 Park Avenue, New York, NY 10017; retain such property as collateral security for
E WARRANTIES
other damages or expenses. ABA# 021000021; FBO: Christie’s Inc.; your obligations to us; and
1 SELLER’S WARRANTIES
(j) Books. Where the lot is a book, we give an Account # 957-107978, (ix) we can take any other action we see necessary
For each lot, the seller gives a warranty that the seller:
additional warranty for 21 days from the date for international transfers, SWIFT: CHASUS33. or appropriate.
(a) is the owner of the lot or a joint owner of the lot
of the auction that any lot is defective in text or (ii) Credit Card. (b) If you owe money to us or to another Christie’s
acting with the permission of the other co-owners
illustration, we will refund your purchase price, We accept Visa, MasterCard, American Express Group company, we can use any amount you do
or, if the seller is not the owner or a joint owner of
subject to the following terms: and China Union Pay. Credit card payments at pay, including any deposit or other part-payment
the lot, has the permission of the owner to sell the
(a) This additional warranty does not apply to: the New York premises will only be accepted for you have made to us, or which we owe you, to pay
lot, or the right to do so in law; and
(i) the absence of blanks, half titles, tissue guards or New York sales. Christie’s will not accept credit off any amount you owe to us or another Christie’s
(b) has the right to transfer ownership of the lot to
advertisements, damage in respect of bindings, card payments for purchases in any other sale site. Group company for any transaction.
the buyer without any restrictions or claims by
stains, spotting, marginal tears or other defects To make a ‘cardholder not present’ (CNP) payment,
anyone else.
not affecting completeness of the text or you must complete a CNP authorisation form which 5 KEEPING YOUR PROPERTY
If either of the above warranties are incorrect, the seller
illustration; you can get from our Post-Sale Services. You must send If you owe money to us or to another Christie’s
shall not have to pay more than the purchase price (as
(ii) drawings, autographs, letters or manuscripts, a completed CNP authorisation form by fax to +1 212 Group company, as well as the rights set out in F4
defined in paragraph F1(a) below) paid by you to us.
signed photographs, music, atlases, maps 636 4939 or you can mail to the address below. Details above, we can use or deal with any of your property we
The seller will not be responsible to you for any reason
or periodicals; of the conditions and restrictions applicable to credit card hold or which is held by another Christie’s Group
for loss of profits or business, expected savings, loss of
(iii) books not identified by title; payments are available from our Post-Sale Services, whose company in any way we are allowed to by law. We will
opportunity or interest, costs, damages, other damages
(iv) lots sold without a printed estimate; details are set out in paragraph (d) below. only release your property to you after you pay us or the
or expenses. The seller gives no warranty in relation to
(v) books which are described in the catalogue as (iii) Cash relevant Christie’s Group company in full for what
any lot other than as set out above and, as far as the seller
sold not subject to return; or We accept cash payments (including money you owe. However, if we choose, we can also sell your
is allowed by law, all warranties from the seller to you,
(vi) defects stated in any condition report or orders and traveller’s checks) subject to a property in any way we think appropriate. We will use
and all other obligations upon the seller which may be
announced at the time of sale. maximum global aggregate of US$7,500 per the proceeds of the sale against any amounts you owe us
added to this agreement by law, are excluded.
buyer per year at our Post-Sale Services only and we will pay any amount left from that sale to you.

562
If there is a shortfall, you must pay us any difference (c) Lots containing Ivory or materials (e) If, in spite of the terms in paragraphs I(a) to (d) or U.S. party, the JAMS International Arbitration Rules.
between the amount we have received from the sale and resembling ivory E2(i) above, we are found to be liable to you for The seat of the arbitration shall be New York and the
the amount you owe us. If a lot contains elephant ivory, or any other wildlife any reason, we shall not have to pay more than the arbitration shall be conducted by one arbitrator, who
material that could be confused with elephant purchase price paid by you to us. We will not be shall be appointed within 30 days after the initiation
G COLLECTION AND STORAGE ivory (for example, mammoth ivory, walrus ivory, responsible to you for any reason for loss of profits of the arbitration. The language used in the arbitral
(a) You must collect purchased lots within seven days helmeted hornbill ivory) you may be prevented or business, loss of opportunity or value, expected proceedings shall be English. The arbitrator shall order
from the auction (but note that lots will not be from exporting the lot from the US or shipping it savings or interest, costs, damages, or expenses. the production of documents only upon a showing
released to you until you have made full and between US States without first confirming its species that such documents are relevant and material to the
clear payment of all amounts due to us). by way of a rigorous scientific test acceptable to the J OTHER TERMS outcome of the Dispute. The arbitration shall be
(b) Information on collecting lots is set out on the storage applicable Fish and Wildlife authorities. You will 1 OUR ABILITY TO CANCEL confidential, except to the extent necessary to enforce
and collection page and on an information sheet buy that lot at your own risk and be responsible for In addition to the other rights of cancellation contained a judgment or where disclosure is required by law. The
which you can get from the bidder registration staff or any scientific test or other reports required for export in this agreement, we can cancel a sale of a lot if : (i) any arbitration award shall be final and binding on all parties
Christie’s Post-Sale Services Department on from the USA or between US States at your own of your warranties in paragraph E3 are not correct; (ii) involved. Judgment upon the award may be entered
+1 212 636 2650. cost. We will not be obliged to cancel your purchase we reasonably believe that completing the transaction is, by any court having jurisdiction thereof or having
(c) If you do not collect any lot within thirty days and refund the purchase price if your lot may or may be, unlawful; or (iii) we reasonably believe that jurisdiction over the relevant party or its assets. This
following the auction we may, at our option not be exported, imported or shipped between US the sale places us or the seller under any liability to arbitration and any proceedings conducted hereunder
(i) charge you storage costs at the rates set out at States, or it is seized for any reason by a government anyone else or may damage our reputation. shall be governed by Title 9 (Arbitration) of the United
www.christies.com/storage. authority. It is your responsibility to determine and States Code and by the United Nations Convention on
(ii) move the lot to another Christie’s location or an satisfy the requirements of any applicable laws or 2 RECORDINGS the Recognition and Enforcement of Foreign Arbitral
affiliate or third party warehouse and charge you regulations relating to interstate shipping, export or We may videotape and record proceedings at any Awards of June 10, 1958.
transport costs and administration fees for doing import of property containing such protected or auction. We will keep any personal information
so and you will be subject to the third party regulated material. confidential, except to the extent disclosure is required 10 REPORTING ON
storage warehouse’s standard terms and to pay (d) Lots of Iranian origin by law. However, we may, through this process, use WWW.CHRISTIES.COM
for their standard fees and costs. Some countries prohibit or restrict the purchase, the or share these recordings with another Christie’s Details of all lots sold by us, including catalogue
(iii) sell the lot in any commercially reasonable way export and/or import of Iranian-origin “works of Group company and marketing partners to analyse our descriptions and prices, may be reported on
we think appropriate. conventional craftsmanship” (works that are not by customers and to help us to tailor our services for buyers. www.christies.com. Sales totals are hammer price
(d) The Storage conditions which can be found at a recognized artist and/or that have a function, (for If you do not want to be videotaped, you may make plus buyer’s premium and do not reflect costs,
www.christies.com/storage will apply. example: carpets, bowls, ewers, tiles, ornamental arrangements to make a telephone or written bid or bid financing fees, or application of buyer’s or seller’s credits.
(e) In accordance with New York law, if you have paid boxes). For example, the USA prohibits the import on Christie’s LIVE™ instead. Unless we agree otherwise We regret that we cannot agree to requests to remove
for the lot in full but you do not collect the lot within and export of this type of property without a license in writing, you may not videotape or record proceedings these details from www.christies.com.
180 calendar days of payment, we may charge you issued by the US Department of the Treasury, Office at any auction.
New York sales tax for the lot. of Foreign Assets Control. Other countries, such as K GLOSSARY
(f) Nothing in this paragraph is intended to limit our Canada, only permit the import of this property in 3 COPYRIGHT auctioneer: the individual auctioneer and/or
rights under paragraph F4. certain circumstances. As a convenience to buyers, We own the copyright in all images, illustrations and Christie’s.
Christie’s indicates under the title of a lot if the lot written material produced by or for us relating to a authentic: authentic : a genuine example, rather than a
H TRANSPORT AND SHIPPING originates from Iran (Persia). It is your responsibility lot (including the contents of our catalogues unless copy or forgery of:
1 SHIPPING to ensure you do not bid on or import a lot in otherwise noted in the catalogue). You cannot use them (i) the work of a particular artist, author or
We will enclose a transport and shipping form with each contravention of the sanctions or trade embargoes without our prior written permission. We do not offer manufacturer, if the lot is described in the
invoice sent to you. You must make all transport and that apply to you. any guarantee that you will gain any copyright or other Heading as the work of that artist, author
shipping arrangements. However, we can arrange to (f) Gold reproduction rights to the lot. or manufacturer;
pack, transport, and ship your property if you ask us to Gold of less than 18ct does not qualify in all countries (ii) a work created within a particular period or
and pay the costs of doing so. We recommend that you as ‘gold’ and may be refused import into those 4 ENFORCING THIS AGREEMENT culture, if the lot is described in the Heading as
ask us for an estimate, especially for any large items or countries as ‘gold’. If a court finds that any part of this agreement is not valid a work created during that period or culture;
items of high value that need professional packing. We (g) Watches or is illegal or impossible to enforce, that part of the (iii) a work for a particular origin source if the lot is
may also suggest other handlers, packers, transporters, Many of the watches offered for sale in this catalogue are agreement will be treated as being deleted and the rest of described in the Heading as being of that origin
or experts if you ask us to do so. For more information, pictured with straps made of endangered or protected this agreement will not be affected. or source; or
please contact Christie’s Post-Sale Services at +1 animal materials such as alligator or crocodile. These (iv) in the case of gems, a work which is made of a
212 636 2650. See the information set out at www. lots are marked with the symbol Ψ in the catalogue. 5 TRANSFERRING YOUR RIGHTS particular material, if the lot is described in the
christies.com/shipping or contact us at PostSaleUS@ These endangered species straps are shown for display AND RESPONSIBILITIES Heading as being made of that material.
purposes only and are not for sale. Christie’s will remove
christie.com. We will take reasonable care when we You may not grant a security over or transfer your rights authenticity warranty: the guarantee we give in this
are handling, packing, transporting, and shipping a. and retain the strap prior to shipment from the sale agreement that a lot is authentic as set out in paragraph
or responsibilities under these terms on the contract of
However, if we recommend another company for any site. At some sale sites, Christie’s may, at its discretion, E2 of this agreement.
sale with the buyer unless we have given our written
of these purposes, we are not responsible for their acts, make the displayed endangered species strap available buyer’s premium: the charge the buyer pays us along
permission. This agreement will be binding on your
failure to act, or neglect. to the buyer of the lot free of charge if collected in with the hammer price.
successors or estate and anyone who takes over your
person from the sale site within 1 year of the date of the catalogue description: the description of a lot in the
rights and responsibilities.
2 EXPORT AND IMPORT auction. Please check with the department for details catalogue for the auction, as amended by any saleroom
on a particular lot. notice.
Any lot sold at auction may be affected by laws on 6 TRANSLATIONS
exports from the country in which it is sold and the If we have provided a translation of this agreement, we Christie’s Group: Christie’s International Plc,
For all symbols and other markings referred to in its subsidiaries and other companies within its
import restrictions of other countries. Many countries will use this original version in deciding any issues or
paragraph H2, please note that lots are marked as a corporate group.
require a declaration of export for property leaving disputes which arise under this agreement.
convenience to you, but we do not accept liability for condition: the physical condition of a lot.
the country and/or an import declaration on entry of
errors or for failing to mark lots. due date: has the meaning given to it paragraph F1(a).
property into the country. Local laws may prevent you 7 PERSONAL INFORMATION
from importing a lot or may prevent you selling a lot in We will hold and process your personal information and estimate: the price range included in the catalogue or
the country you import it into. I OUR LIABILITY TO YOU may pass it to another Christie’s Group company for any saleroom notice within which we believe a lot may
(a) You alone are responsible for getting advice about (a) We give no warranty in relation to any statement use as described in, and in line with, our privacy notice sell. Low estimate means the lower figure in the range
and meeting the requirements of any laws or made, or information given, by us or our at www.christies.com/about-us/contact/privacy. and high estimate means the higher figure. The mid
regulations which apply to exporting or importing representatives or employees, about any lot other than estimate is the midpoint between the two.
any lot prior to bidding. If you are refused a licence as set out in the authenticity warranty and, as far 8 WAIVER hammer price: the amount of the highest bid the
or there is a delay in getting one, you must still pay us as we are allowed by law, all warranties and other auctioneer accepts for the sale of a lot.
No failure or delay to exercise any right or remedy
terms which may be added to this agreement by law
in full for the lot. We may be able to help you apply provided under these Conditions of Sale shall constitute Heading: has the meaning given to it in paragraph E2.
for the appropriate licences if you ask us to and pay are excluded. The seller’s warranties contained in lot: an item to be offered at auction (or two or more
a waiver of that or any other right or remedy, nor shall
our fee for doing so. However, we cannot guarantee paragraph E1 are their own and we do not have any items to be offered at auction as a group).
it prevent or restrict the further exercise of that or any
that you will get one. For more information, please liability to you in relation to those warranties. other damages: any special, consequential, incidental
other right or remedy. No single or partial exercise of
(b) (i) We are not responsible to you for any reason
contact Christie’s Art Transport Department at such right or remedy shall prevent or restrict the further or indirect damages of any kind or any damages which
+1 212 636 2480. See the information set out at (whether for breaking this agreement or any other fall within the meaning of ‘special’, ‘incidental’ or
exercise of that or any other right or remedy.
www.christies.com/shipping or contact us at matter relating to your purchase of, or bid for, any ‘consequential’ under local law.
[email protected]. lot) other than in the event of fraud or fraudulent purchase price: has the meaning given to it in
9 LAW AND DISPUTES
(b) Endangered and protected species misrepresentation by us or other than as expressly paragraph F1(a).
This agreement, and any non-contractual obligations
Lots made of or including (regardless of the set out in these conditions of sale; or provenance: the ownership history of a lot.
arising out of or in connection with this agreement, or
percentage) endangered and other protected species (ii) give any representation, warranty or guarantee qualified: has the meaning given to it in paragraph
any other rights you may have relating to the purchase of
of wildlife are marked with the symbol ~ in the or assume any liability of any kind in respect of E2 and Qualified Headings means the paragraph
a lot will be governed by the laws of New York. Before
catalogue. This material includes, among other any lot with regard to merchantability, fitness headed Qualified Headings on the page of the
we or you start any court proceedings (except in the
things, ivory, tortoiseshell, crocodile skin, rhinoceros for a particular purpose, description, size, quality, catalogue headed ‘Important Notices and Explanation of
limited circumstances where the dispute, controversy or
horn, whalebone certain species of coral, and condition, attribution, authenticity, rarity, Cataloguing Practice’.
claim is related to proceedings brought by someone else
Brazilian rosewood. You should check the relevant importance, medium, provenance, exhibition reserve: the confidential amount below which we will
and this dispute could be joined to those proceedings),
customs laws and regulations before bidding on any history, literature, or historical relevance. Except not sell a lot.
we agree we will each try to settle the dispute by
lot containing wildlife material if you plan to import as required by local law, any warranty of any kind saleroom notice: a written notice posted next to
mediation submitted to JAMS, or its successor, for
the lot into another country. Several countries refuse is excluded by this paragraph. the lot in the saleroom and on www.christies.com,
mediation in New York. If the Dispute is not settled by
to allow you to import property containing these (c) In particular, please be aware that our written and which is also read to prospective telephone bidders and
mediation within 60 days from the date when mediation
materials, and some other countries require a licence telephone bidding services, Christie’s LIVE™, notified to clients who have left commission bids, or an
is initiated, then the Dispute shall be submitted to
from the relevant regulatory agencies in the countries condition reports, currency converter and announcement made by the auctioneer either at the
JAMS, or its successor, for final and binding arbitration
of exportation as well as importation. In some cases, saleroom video screens are free services and we are beginning of the sale, or before a particular lot
in accordance with its Comprehensive Arbitration
the lot can only be shipped with an independent not responsible to you for any error (human or is auctioned.
Rules and Procedures or, if the Dispute involves a non-
scientific confirmation of species and/or age, and otherwise), omission or breakdown in these services. UPPER CASE type: means having all capital letters.
you will need to obtain these at your own cost. (d) We have no responsibility to any person other than a warranty: a statement or representation in which the
buyer in connection with the purchase of any lot. person making it guarantees that the facts set out in it
are correct.

13/02/2019

563
S Y M B OL S U S E D I N T H I S C ATA L O GU E

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’
º ♦ ~
Christie’s has a direct financial interest in the lot. Christie’s has a direct financial interest in the lot and Lot incorporates material from endangered species
See Important Notices and Explanation of Cataloguing has funded all or part of our interest with the help of which could result in export restrictions. See
Practice. someone else. See Important Notices and Explanation Paragraph H2(b) of the Conditions of Sale.
of Cataloguing Practice.
Δ ■
Owned by Christie’s or another Christie’s Group ¤ See Storage and Collection pages in the catalogue.
company in whole or part. See Important Notices and Bidding by interested parties
Explanation of Cataloguing Practice. Ψ
• Lot incorporates material from endangered species that
Lot offered without reserve which will be sold to the is not for sale and shown for display purposes only.
highest bidder regardless of the pre-sale estimate in the See Paragraph H2(g) of the Conditions of Sale.
catalogue.

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.

29/03/19

I M P ORTA N T NO T IC E S A N D
E X P L A N AT ION OF C ATA L O GU I NG P R AC T IC E

IMPORTANT NOTICES Post-catalogue notifications The date given for Old Master, Modern and Contemporary Prints is the
date (or approximate date when prefixed with ‘circa’) on which the matrix
∆ Property Owned in part or in full by Christie’s In certain instances, after the catalogue has been published, Christie’s may
was worked and not necessarily the date when the impression was printed
enter into an arrangement or become aware of bidding that would have
From time to time, Christie’s may offer a lot which it owns in whole or in or published.
required a catalogue symbol. In those instances, a pre-sale or pre-lot
part. Such property is identified in the catalogue with the symbol Δ next
announcement will be made. *This term and its definition in this Explanation of Cataloguing Practice
to its lot number. Where Christie’s has an ownership or financial interest
are a qualified statement as to authorship. While the use of this term
in every lot in the catalogue, Christie’s will not designate each lot with a Other Arrangements is based upon careful study and represents the opinion of specialists,
symbol, but will state its interest in the front of the catalogue.
Christie’s may enter into other arrangements not involving bids. These Christie’s and the seller assume no risk, liability and responsibility for the
º Minimum Price Guarantees include arrangements where Christie’s has given the Seller an Advance on authenticity of authorship of any lot in this catalogue described by this
the proceeds of sale of the lot or where Christie’s has shared the risk of a term, and the Authenticity Warranty shall not be available with respect
On occasion, Christie’s has a direct financial interest in the outcome of to lots described using this term.
guarantee with a partner without the partner being required to place an
the sale of certain lots consigned for sale. This will usually be where it has
irrevocable written bid or otherwise participating in the bidding on the lot.
guaranteed to the Seller that whatever the outcome of the auction, the
Because such arrangements are unrelated to the bidding process they are not POST 1950 FURNITURE
Seller will receive a minimum sale price for the work. This is known as a
marked with a symbol in the catalogue. All items of post-1950 furniture included in this sale are items either
minimum price guarantee. Where Christie’s holds such financial interest
we identify such lots with the symbol º next to the lot number. not originally supplied for use in a private home or now offered solely
as works of art. These items may not comply with the provisions of the
º ♦ Third Party Guarantees/Irrevocable bids FOR PICTURES, DRAWINGS, PRINTS Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended
AND MINIATURES in 1989 and 1993, the “Regulations”). Accordingly, these items should
Where Christie’s has provided a Minimum Price Guarantee it is at risk of
Terms used in this catalogue have the meanings ascribed to them below. not be used as furniture in your home in their current condition. If you do
making a loss if the lot fails to sell. Christie’s sometimes chooses to share
Please note that all statements in this catalogue as to authorship are made intend to use such items for this purpose, you must first ensure that they
that risk with a third party who agrees prior to the auction to place an
subject to the provisions of the Conditions of Sale and authenticity are reupholstered, restuffed and/or recovered (as appropriate) in order that
irrevocable written bid on the lot. If there are no other higher bids, the
warranty. Buyers are advised to inspect the property themselves. Written they comply with the provisions of the Regulations.These will vary by
third party commits to buy the lot at the level of their irrevocable written
condition reports are usually available on request. department.
bid. In doing so, the third party takes on all or part of the risk of the lot not
being sold. Lots which are subject to a third party guarantee arrangement
are identified in the catalogue with the symbol º ♦. QUALIFIED HEADINGS
In Christie’s opinion a work by the artist.
In most cases, Christie’s compensates the third party in exchange for *“Attributed to …”
accepting this risk. Where the third party is the successful bidder, the third In Christie’s qualified opinion probably a work by the artist in whole or
party’s remuneration is based on a fixed financing fee. If the third party is in part.
not the successful bidder, the remuneration may either be based on a fixed *“Studio of …”/ “Workshop of …”
fee or is an amount calculated against the hammer price. The third party In Christie’s qualified opinion a work executed in the studio or workshop
may continue to bid for the lot above the irrevocable written bid. Where of the artist, possibly under his supervision.
the third party is the successful bidder, Christie’s will report the purchase *“Circle of …”
price net of the fixed financing fee. In Christie’s qualified opinion a work of the period of the artist and
Third party guarantors are required by us to disclose to anyone they are showing his influence.
advising their financial interest in any lots they are guaranteeing. However, *“Follower of …”
for the avoidance of any doubt, if you are advised by or bidding through In Christie’s qualified opinion a work executed in the artist’s style but not
an agent on a lot identified as being subject to a third party guarantee, you necessarily by a pupil.
should always ask your agent to confirm whether or not he or she has a *“Manner of …”
financial interest in relation to the lot In Christie’s qualified opinion a work executed in the artist’s style but of
a later date.
¤ Bidding by interested parties
*“After …”
When a party with a direct or indirect interest in the lot who may have In Christie’s qualified opinion a copy (of any date) of a work of the artist.
knowledge of the lot’s reserve or other material information may be “Signed …”/“Dated …”/
bidding on the lot, we will mark the lot with this symbol ¤. This interest “Inscribed …”
can include beneficiaries of an estate that consigned the lot or a joint owner In Christie’s qualified opinion the work has been signed/dated/inscribed
of a lot. Any interested party that successfully bids on a lot must comply by the artist.
with Christie’s Conditions of Sale, including paying the lot’s full Buyer’s “With signature …”/ “With date …”/
Premium plus applicable taxes. “With inscription …”
In Christie’s qualified opinion the signature/
date/inscription appears to be by a hand other than that of the artist.
29/03/19

564
S TOR AG E A N D COL L E C T ION

PAYMENT OF ANY CHARGES DUE COLLECTION AND CONTACT DETAILS

Specified lots (sold and unsold) marked with a filled square (■) not collected from Lots will only be released on payment of all charges due and on production of a
Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Collection Form from Christie’s. Charges may be paid in advance or at the time of
Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the collection. We may charge fees for storage if your lot is not collected within thirty days
lot has been sent offsite. from the sale. Please see paragraph G of the Conditions of Sale for further detail.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for Tel: +1 212 636 2650
collection after the third business day following the sale. Email: [email protected]
Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time
at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by
pre-booked appointment only. SHIPPING AND DELIVERY
Please be advised that after 50 days from the auction date property may be moved at Christie’s Post-Sale Service can organize domestic deliveries or international freight.
Christie’s discretion. Please contact Post-Sale Services to confirm the location of your Please contact them on +1 212 636 2650 or [email protected].
property prior to collection.

Tel: +1 212 636 2650


Email: [email protected]
Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from
9:30 am to 5:00 pm, Monday – Friday.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.
Please contact CFASS New York for details and rates: +1 212 636 2070 or [email protected]

STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

Christie’s Rockefeller Center Christie’s Fine Art Storage Services (CFASS)


20 Rockefeller Plaza, New York 10020 62-100 Imlay Street, Brooklyn, NY 11231
Tel: +1 212 636 2000 Tel: +1 212 974 4500
[email protected] [email protected]
Main Entrance on 49th Street Main Entrance on Corner of Imlay and Bowne St
Receiving/Shipping Entrance on 48th Street Hours: 9.30 AM - 5.00 PM
Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays
Monday-Friday except Public Holidays

13/08/18

565
COL OR L E S S DI A MON D I N DE X
LOT NAME COLOR CLARITY WEIGHT CUT

98 The Arcot II D Internally Flawless 17.21 Pear

229 Mirror of Paradise D Internally Flawless 52.58 Rectangular

277 D VVS2, Potential 23.55 Oval

277 D VS1 6.51 Marquise

277 E VS1 34.08 Pear

277 E VS2 3.54 Heart

167 H Internally Flawless 7.56 Heart

18 O-P VS2 21.67 Old European

COL OR E D DI A MON D I N DE X
LOT COLOR CLARITY WEIGHT CUT

147 Light Pink VVS1, Potential 10.46 Oval

170 Light Pink VS1 7.56 Old Mine

36 Pink (Not determined by the GIA) ~ ~ Triangular

271 Orange-brown (Not determined by the GIA) ~ ~ Circular

COL OR E D S TON E I N DE X
SA P P H I R E
LOT ORIGIN CLARITY WEIGHT CUT

276 Ceylon None 109.50 Cushion

63 Ceylon None ~ Octagonal

306 Australia None ~ Oval Cabochon

308 Ceylon (Yellow) None ~ Octagonal

566
E M E R A L DS
LOT ORIGIN CLARITY WEIGHT CUT

388 Colombia None 141.13 Hexagonal, Carved

350 Colombia None 52.04 Hexagonal, Carved

353 Colombia None 17.94 Oval

269 Colombia None 10.05 Carved

226 Colombia Insignifiicant, Traditional 218.21 Oval, Carved

223 Colombia Insignificant, Traditional 82.08 Drop-shaped Carved Bead

351 Colombia Insignificant, Traditional 80.24 Hexagonal, Carved

352 Colombia Insignificant, Traditional 45.53 Carved

60 Colombia Insignificant, Traditional 26.70 Trapezoidal, Carved

268 Colombia Insignificant, Traditional 16.48 Carved

267 Colombia Insignificant, Traditional 10.51 Crescent

132 Colombia Insignificant, Traditional ~ Crescent

224 Colombia Insignificant, Traditional ~ Rectangular

270 Colombia Insignificant, Traditional ~ Oval, Carved

275 Colombia Insignificant, Traditional ~ Hexagonal, Carved

383 Pair Colombia Insignificant to Minor, Traditional 93.85, 56.40 Oval, Hexagonal, Carved

283 Colombia Insignificant to Minor, Traditional 84.63 Octagonal, Carved

355 Colombia Insignificant to Minor, Traditional 52.96 Carved

228 Colombia Insignificant to Minor, Traditional 38.71 Octagonal

129 Colombia Insignificant to Minor, Traditional ~ Various

174 Colombia Insignificant to Minor, Traditional ~ Various

222 Colombia Insignificant to Minor, Traditional ~ Drop-shaped Carved Bead

274 Colombia Insignificant to Minor, Traditional ~ Various, Carved

356 Colombia Insignificant to Minor, Traditional ~ Hexagonal, Carved

142 Colombia Minor, Traditional ~ Tumbled Beads

40 Colombia Minor, Traditional 380.98 Hexagonal

173 Colombia Minor, Traditional 105.12 Round

220 Colombia Minor, Traditional 50.41 Drop-shaped Bead

172 Colombia Minor, Traditional 44.41 Octagonal, Buff-top

59 Colombia Minor, Traditional 24.49 Cabochon

58 Colombia Minor, Traditional 6.85 Carved, Frog

221 Colombia Minor to Moderate, Traditional 92.16 Drop-shaped Carved Bead

35 Colombia Minor to Moderate, Traditional ~ Beads

109 Colombia Minor to Moderate, Traditional ~ Beads

38 Colombia Minor ~ Drop-shaped Bead

66 Colombia Moderate, Traditional ~ Carved Bead

97 Colombia Moderate, Traditional 25.89 Carved Bead

340 Colombia Minor, Modern 30.60 Cabochon

354 Brazil Minor to Moderate, Traditional 87.09 Rectangular

567
W R I T T E N B I DS FOR M
C H R I S T I E ’ S N E W YOR K
MAHARAJAS AND MUGHAL
MAGNIFICENCE Written bids must be received at least 24 hours before the auction begins.
WEDNESDAY 19 JUNE 2019 Christie’s will confirm all bids received by fax by return fax. If you have not received
AT 10.00 AM AND 2.30 PM confirmation within one business day, please contact the Bid Department.
20 Rockefeller Plaza Tel: +1 212 636 2437 on-line www.christies.com
New York, NY 10020
17464
CODE NAME: MAGNIFICENCE
Client Number (if applicable) Sale Number
SALE NUMBER: 17464

(Dealers billing name and address must agree Billing Name (please print)
with tax exemption certificate. Invoices cannot
be changed after they have been printed.) Address
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
City State Zone

BIDDING INCREMENTS Daytime Telephone Evening Telephone


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 Fax (Important) Email
not conform to the increments set below may be lowered to the next
bidding-interval. Please tick if you prefer not to receive information about our upcoming sales by e-mail

US$100 to US$2,000 by US$100s I have read and understood this Written Bid Form and the Conditions of Sale — Buyer’s Agreement
US$2,000 to US$3,000 by US$200s
US$3,000 to US$5,000 by US$200, 500, 800 Signature
(e.g. US$4,200, 4,500, 4,800)
US$5,000 to US$10,000 by US$500s
US$10,000 to US$20,000 by US$1,000s If you have not previously bid or consigned with Christie’s, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card,
US$20,000 to US$30,000 by US$2,000s
or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or
US$30,000 to US$50,000 by US$2,000, 5,000, 8,000 bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts,
offshore companies or partnerships: please contact the Credit Department at +1 212 636 2490 for advice on
(e.g. US$32,000, 35,000, 38,000) the information you should supply. If you are registering to bid on behalf of someone who has not previously
US$50,000 to US$100,000 by US$5,000s bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on
US$100,000 to US$200,000 by US$10,000s whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
Above US$200,000 at auctioneer’s discretion clients who have not made a purchase from any Christie’s office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christie’s to bid on the stated lots up to the PLEASE PRINT CLEARLY
maximum bid I have indicated for each lot. Lot number Maximum Bid US$ Lot number Maximum Bid US$
2. I understand that if my bid is successful the amount payable (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
will be the sum of the hammer price and the buyer’s
premium (together with any applicable state or local sales
or use taxes chargeable on the hammer price and buyer’s
premium) in accordance with the Conditions of Sale—
Buyer’s Agreement). The buyer’s premium rate shall be
an amount equal to 25% of the hammer price of each lot
up to and including US$300,000, 20% on any amount over
US$300,000 up to and including US$4,000,000 and 13.5%
of the amount above US$4,000,000.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christie’s receive written bids on a lot
for identical amounts and at the auction these are the highest
bids on the lot, Christie’s will sell the lot to the bidder whose
written bid it received and accepted first.
5. Written bids submitted on “no reserve” lots will, in the
absence of a higher bid, be executed at approximately 50% of
the low estimate or at the amount of the bid if it is less than
50% of the low estimate.
I understand that Christie’s written bid service is a free service
provided for clients and that, while Christie’s will be as careful as
it reasonably can be, Christie’s will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christie’s reasonable control.
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS
AUCTION RESULTS: CHRISTIES.COM
Please quote number below:

08/01/19

opposite:
Lot 148 19/01/2015

569
CHRISTIE’S

CHRISTIE’S INTERNATIONAL PLC CHRISTIE’S AMERICAS


François Pinault, Chairman SENIOR VICE PRESIDENTS ASSOCIATE VICE PRESIDENTS
Guillaume Cerutti, Chief Executive Officer Rachel Adey, Kelly Ayers, Diane Baldwin, Nicole Arnot, Nishad Avari, Bernadine Boisson,
Stephen Brooks, Deputy Chief Executive Officer Heather Barnhart, Alyson Barnes, Vanessa Booher, Anne Bracegirdle, Tristan Bruck,
Jussi Pylkkänen, Global President Michael Bass, G. Max Bernheimer, Rita Boyle, Ally Butler, Lauren Carlucci, Michelle Cha,
François Curiel, Chairman, Europe Catherine Busch, Max Carter, Ana Maria Celis, Alessandro Diotallevi, Julie Drennan, Sarah El-Tamer,
Jean-François Palus Veronique Chagnon-Burke, Angelina Chen, Jill Farquharson, William Fischer, Emily Fisher,
Stéphanie Renault Sandra Cobden, Dan Conn, Kathy Coumou, Sara Fox, Kristen France, Juarez Francis,
Héloïse Temple-Boyer Deborah Coy, Francois de Poortere, Carrie Dillon, Hilary Friedman, Jacqueline Gascoigne,
Sophie Carter, Company Secretary Yasaman Djunic, Monica Dugot, Richard Entrup, Emily Gladstone, Douglas Goldberg, Robert Gordy,
Lydia Fenet, Jessica Fertig, Dani Finkel, Jacqueline Gorton, Julia Gray, Emily Grimball,
Johanna Flaum, Marcus Fox, Sara Friedlander, Olivia Hamilton, Amy Indyke, Bennett Jackson,
INTERNATIONAL CHAIRMEN Sayuri Ganepola, Virgilio Garza, Benjamin Gore, Stephen Jones, Larry Kalmikoff, Paige Kestenman,
Stephen Lash, Chairman Emeritus, Americas Karen Gray, Helena Grubesic, Jennifer K. Hall, Paula Kowalczyk, Sibyl Lafontant, Madeline Lazaris,
The Earl of Snowdon, Honorary Chairman, EMERI Bill Hamm, William Haydock, Darius Himes, Andrew Lick, David Lieu, Alexander Locke,
Charles Cator, Deputy Chairman, Christie’s Int. Margaret Hoag, Erik Jansson, Rahul Kadakia, Samantha Margolis, Anita Martignetti, Laura Mathis,
Xin Li-Cohen, Deputy Chairman, Christie’s Int. Kathy Kaplan, Jessica Katz, Julie Kim, Christopher Mendoza, Camille Massaro-Menz,
Sharon Kim, Stefan Kist, Deepanjana Klein, Nina Milbank, Leo Montan, Takaaki Murakami,
CHRISTIE’S AMERICAS David Kleiweg de Zwaan, Susan Kloman, Taylor Murtishaw, Margaret O’Connor,
Marc Porter, Chairman Timothy Kompanchenko, Samantha Koslow, Alexandra O’Neill, Daniel Peros, Jessica Phifer,
Jennifer Zatorski, President Daphne Lingon, Gabriela Lobo, Rebecca MacGuire, Nell Plumfield, Rebecca Roundtree, Sara Rutter,
Erin McAndrew, Rick Moeser, Richard Nelson, Reed Ryan, Nicole Sales, Emily Salzberg, Jill Sieffert,
Illysa Ortsman, Tash Perrin, Jason Pollack, Jason Simonds, Alexa Shitanishi, Alexa Smith,
CHAIRMAN’S OFFICE Denise Ratinoff, John Reardon, Sonya Roth, Hilary Smith, Victoria Solivan, Hannah Fox Solomon,
Ben Hall, Chairman Natalie Stagnitti-White, Joey Steigelman,
Emily Sarokin, Caroline Sayan, Elise de la Selle,
Alexander Rotter, Chairman Laura Sumser, Victoria Tudor, Grace Voges,
Will Strafford, Sarah Vandeweerdt, Cara Walsh,
Bonnie Brennan, Deputy Chairman Izzie Wang, Seth Watsky, Candace Wetmore,
Hartley Waltman, Amy Wexler, Allison Whiting,
Cyanne Chutkow, Deputy Chairman Elizabeth Wight, Gretchen Yagielski
Marissa Wilcox, Jody Wilkie, Zackary Wright,
Sheri Farber, Deputy Chairman
Steven J. Zick
John Hays, Deputy Chairman
Conor Jordan, Deputy Chairman AMERICAS REPRESENTATIVES
Richard Lloyd, Deputy Chairman VICE PRESIDENTS Lisa Cavanaugh, Lydia Kimball, Juanita Madrinan,
Maria C. Los, Deputy Chairman Tylee Abbott, Christine Layng Aschwald, David G. Ober, Nancy Rome, Brett Sherlock
Andrew Massad, Deputy Chairman Danielle Austin, Victoria Ayers, Marina Bertoldi,
Adrien Meyer, Co-Chairman Kristin Bisagna, Diana Bramham, Eileen Brankovic,
Ellanor Notides, Deputy Chairman Meghan Bunting, Maryum Busby, Cristina Carlisle,
Jonathan Rendell, Deputy Chairman Elisa Catenazzi, Michelle Cheng, Margaret Conklin,
Margot Rosenberg, Deputy Chairman Kristen de Bruyn, Elise de la Selle, Aubrey Daval,
Capera Ryan, Deputy Chairman Cathy Delany, Jacqueline Dennis Subhash,
Barrett White, Deputy Chairman Ashish Desai, Christine Donahue, Caitlin Donovan,
Eric Widing, Deputy Chairman Abby Farha, Lauren Frank, Vanessa Fusco,
Athena Zonars, Co-Chairman Christina Geiger, Joshua Glazer, Lisa Gluck,
Peggy Gottlieb, Lindsay Griffith, Margaret Gristina,
Izabela Grocholski, James Hamilton,
Elizabeth Hammer-Munemura, Natalie Hamrick,
Minna Hanninen, Anne Hargrave, Val Hoyt,
Sima Jalili, Emily Kaplan, Sumako Kawai,
Marisa Kayyem, Caroline Kelly, Jerome Kerr-Jarrett,
Peter Klarnet, Alexis Klein, Kristin Kolich,
Noah Kupferman, Alexandra Lenobel,
Richard Lopez, Ryan Ludgate, Alex Marshall,
Adam McCoy, Michael Moore, Melissa Morris,
Danielle Mosse, Christopher Munro, Libia Nahas,
Laura Nagle, Marysol Nieves, Remi Nouailles,
Jonquil O’Reilly, Rachel Orkin-Ramey,
Joanna Ostrem, Sam Pedder-Smith,
Carleigh Queenth, Joseph Quigley,
Shlomi Rabi, Prakash Ramdas, Jeremy Rhodes,
Daphne Riou, Casey Rogers, Thomas Root,
William Russell, Arianna Savage, Stacey Sayer,
Morris Scardigno, Morgan Schoonhoven,
Edwina Stitt, Gemma Sudlow, Bliss Summers,
Joanna Szymkowiak, Bo Tan, Arianna Tosto,
Lillian Vasquez, Beth Vilinsky, Jill Waddell,
Michal Ward, Alan Wintermute, Ben Whine,
Jennifer Wright, Kristen Yraola, Timothy Yule,
Cara Zimmerman

© Christie, Manson & Woods Ltd. (2019)


Catalogue photo credits:
Antfarm Photograhy
Phillip Brakefield
Prudence Cuming
Laziz Hamani
Brian McCormick
Matt Pia Ltd.
18/04/19 Brian Pineda
Design and Layout:
Ryan Zaborowsk
Image Editing:
Mark Espinosa
opposite:
Lot 196

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