Lot 200. An important emerald and seed-pearl Necklace from the Lahore Treasury, worn by Maharani Jindan Kaur (1817-63), wife of Ranjit Singh, the Lion of the Punjab (1780–1839), Lahore, first half of the 19th Century; the necklace 38 cm. diam.; the case 20.5 x 12cm. Estimate HKD £ 80,000 - 120,000 (€ 91,000 - 140,000). Sold for £ 187,500 (€ 212,819). © Bonhams.

LONDON.- An important emerald and seed-pearl necklace from the Lahore Treasury sold for £187,500 at Bonhams Islamic and Indian Art sale in London today. Tuesday, 23 October. It was among a number of select Sikh Treasures in the sale, and had been estimated at £80,000-120,000. The sale made an overall total of £1,818,500. 

The necklace was owned and worn by Jindan Kaur, the final wife of Maharajah Ranjit Singh and the only one not to commit Sati or ritual suicide on his death. As Regent to her five-year-old son Duleep, who was proclaimed Maharajah in 1843, Jindan organised armed resistance to the British invasion but was captured and imprisoned. Escaping to Kathmandu, she was kept under house arrest by the King of Nepal, before eventually moving to England where she was reunited with her son and her jewellery, including the necklace. 

Bonhams Head of Indian and Islamic Art, Oliver White, said, “In a highly successful sale, the Sikh Treasures stood out with pride of place going to the magnificent necklace from the fabled Lahore Treasury that once belonged to the formidable and courageous Jindan Kaur. The high price reflected fierce and competitive bidding in the room, on the phones and over the internet.”

Cf.my post: An important emerald and seed-pearl Necklace from the Lahore Treasury, Lahore, first half of the 19th Century

Other highlights of the sale included: 

• An important Mughal emerald seal made for, and bearing the name of, Marian Hastings, sold for £181,250 (estimate £20,000-30,000). Marian Hastings was the second wife of Warren Hastings, the first Governor General of India (1773-1785). They met and fell in love during a voyage from Dover to Madras in 1769, but Marian was already married and was unable to obtain a divorce until 1777. 

Lot 171. An Important Mughal Colombian emerald seal made for and bearing the name of Marian Hastings, wife of Warren Hastings, Governor General of India 1773-1785, North India, dated AH 1198/ AD 1783-. Estimate HKD £ 20,000 - 30,000 (€ 23,000 - 34,000). Sold for £ 181,250 (€ 205,725). © Bonhams.

Cf. my post: An Important Mughal emerald seal, North India, dated AH 1198/ AD 1783-4

• A gold-thread-embroidered, velvet-clad leather quiver and bow holder almost certainly made for Maharajah Ranjit Singh, Lion of the Punjab sold for £100,000 (estimate £80,000-120,000). It is believed that the Maharajah commissioned a quiver in 1838 to wear at the wedding of his eldest son and heir Kharak; and he appears to be wearing the one in the sale – or one extremely similar to it – in a painting of the same year by the French artist Alfred de Dreaux, now in the Louvre Museum in Paris.

Lot 205. A gold-thread-embroidered velvet-clad leather quiver and bow holder, almost certainly made for Maharaja Ranjit Singh (Reg. 1801-1839), the Lion of the Punjab, Lahore, circa 1838. Estimate £80,000-120,000. Sold for £ 100,000 (€ 113,503). © Bonhams.

the quiver of tapering form, the leather body clad entirely in red velvet embroidered to the front with gold thread and sequins with a panel containing a repeat design of chevron motifs surrounded by a band of rosettes, the velvet clad leather belt similarly embroidered with a band of rosettes and terminating in a circular iron buckle, green velvet suspension loop to reverse, two sets of four tassels to one side; the bow holder of leather clad entirely in red velvet embroidered to the front with gold thread and sequins with a panel containing a repeat design of chevron motifs surrounded by a band of rosettes, three green velvet suspension loops to one side; nine associated iron tipped arrows with later pheasant feather flights; the quiver with wax seal and label inscribed 259 / 15, with stand; the quiver 61.8 cm. long; the bow holder 28.8 cm. long(11)

Provenance: Almost certainly made for Maharaja Ranjit Singh (reg. 1801-1839) on the occasion of the wedding of Khurak Singh in 1838.
Lord Dalhousie Collection, acquired after 1850.
Dowell Fine Art Galleries, No.18 George Street, Edinburgh, The Dalhousie Collection, 7th-8th December, 1898. Acquired by Mr John Baird, Husband of Lord Dalhousie's granddaughter, Lady Susan Ramsay.
Sotheby's, Colstoun, Haddington, East Lothian, 21st-22nd May, 1990, lot 30.
Private UK Collection.

Note: The treaty of Lahore in 1846 ended the first Anglo-Sikh war and brought the entire contents of the Sikh Royal treasury or toshkhana into the hands of the East India Company. Despite the years of upheaval following the death of Ranjit Singh in 1839 it seems that the treasury was still very much intact at this point, and this is illustrated by August Schoefft's portrait of Maharajah Sher Singh executed in about 1850 in which he is depicted wearing an impressive array of jewels including a bazuband set with the Koh-i-nur diamond. (Illustrated in D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 138-141). The toshkhana was not only the treasury but also a workshop with jewellers and craftsmen producing luxury items for the court. The celebrated Golden Throne in the Victoria & Albert Museum (collection no. 2518 IS) was produced there circa 1818 and it is believed that the present lot, as well as a matching powder horn now in the Royal Armouries (collection no. XXVIF.38; see Sikh treasures and Arts of the Punjab catalogue, fig. 2), were also produced in the toshkhana by order of Ranjit Singh. The provenance for these two pieces can be reconstructed with a strong degree of certainty by considering two inventory lists produced in the aftermath of the Anglo-Sikh war.

Public interest at home in Britain had been piqued by the war, and in June 1849 The Marquis of Anglesey, as the Master of Ordnance, wrote to the board of the East India Company requesting that examples of oriental armour 'particularly Afghan and Sikh' be sent to the National Armoury at the Tower of London to be exhibited. In the same year Dr John Login, the first Governor of the Citadel of Lahore, began to draw up a list of the contents of the toshkhana. His inventory of arms and armour is divided into sections listing those worn by particular 'Maharajas and sirdars' of the Punjab. The only mention of a quiver and powder horn in his list are those described as belonging to Ranjit Singh:

A bow and quiver of arrows, 2: Rs 448
Powder horn with belt and pouches: Rs 252 

(Quoted in Thom Richardson (ed.), East Meets West: Diplomatic Gifts of Arms and Armour between Europe and Asia, Appendix I: Dr Login's List, p. 134) 

The connection with Ranjit Singh is supported by a second inventory compiled by the Governor General, James, Earl of Dalhousie in 1850, a copy of which is now in the British Library (see Sikh treasures and Arts of the Punjab catalogue, fig. 3). The quiver and powder flask appear once again as follows: 

4. Maharaja Ranjeet Sing, sword. Presented by Jaswant Ray Holkar on his
flight into the Lahore territory after having been overthrown and pursued by British forces
under Lord Lake.
5. Ditto, bow. Purchased from Kurreewalla, Lahore.
6. Ditto, quiver of arrows. Made to order in the Toshikhana.
7. Ditto, powder horn. It was made in the Toshikhana on the occasion of Maharaja Kurruck Sing's Marriage. 

Following direct comparison of the powder flask and quiver at the Royal Armoury in Leeds, it is clear that they were created in the same workshop as part of the same set due to the similarities in the design, the fabric and the iron work of the buckles. Furthermore, the similarity between the present lot and a chevron design quiver which Ranjit Singh wears in a portrait by Alfred de Dreux painted in 1838, the same year as Kurruck Singh's marriage, provides further compelling evidence (see Sikh treasures and Arts of the Punjab catalogue, fig. 1). The portrait, which is now in the Louvre, was commissioned by Ranjit Singh's French General Jean-Baptiste Ventura and presented to King Louis-Philippe of France. 

The small size of the quiver is also a pointer towards Ranjit Singh's ownership. A very similar quiver in the Furisiyya Collection is 7.5 cm longer than the present lot (see Bashir Mohamed, The Arts of the Muslim Knight, 2007, p. 389, no. 365, Inv. R-774). As the maharaja was known to be a small man and was described by Sir Lepel Griffin as 'short of stature' in spite of being 'the ideal beau of a soldier, strong, spare active, courageous and enduring', it seems likely that a quiver made to order for him would be smaller than average. The fact that there is very little wear to both the quiver and the powder horn would also suggest that they were made for ceremonial purposes and were little used, having been produced just one year before Ranjit Singh's death in 1839.

The eventual gift from the East India Company to the Tower of London in 1853 comprised nearly two hundred items and although no documentation relating to its arrival remains, we do know that many pieces were on display in the new Asiatic Room in the White Tower by 1857. Others ended up in the Royal Collection and The Museum of the East India Company (absorbed by the V&A in 1879) but unfortunately no final list exists documenting the eventual destination of the various pieces. However, by a process of elimination between Logan's and Dalhousie's lists and the pieces known to have formed part of the gift, it is possible to identify the Royal Armoury powder flask and the present lot with those listed in both of the annexation inventories and therefore to trace the provenance of the pieces to Ranjit Singh. (For a further discussion see Thom Richardson (ed.), East Meets West, diplomatic Gifts of Arms and Armour between Europe and Asia, pp. 112-113). 

Although it is uncertain how the quiver came to be separated from the Tower gift, it is reasonable to assume that Dalhousie claimed it as part of his share of the booty. Despite his reputation as a man with little time for anything other than affairs of state, it is clear that he took an interest in acquiring souvenirs of his involvement in the annexation of the Punjab, having had a facsimile copy of Ranjit Singh's throne made for himself (see Sotheby's, Colstoun, 21st - 22nd May, 1990, lot 95). It is known that Dalhousie's collection was once carefully labelled but sadly the inventories are now lost and the tantalising survival of only a part of Dalhousie's original collection label and wax seal on the quiver provides no further clues. 

• The Lockwood Kipling Album, sold for £125,000 (estimate £100,000-150,000). Compiled by artist, curator and school administrator Lockwood Kipling – father of the poet and novelist, Rudyard Kipling – this collection of 120 photographs provides a fascinating insight into India, particularly the Punjab, in the last quarter of the 19th century. Kipling lived and worked in India from 1865 until his retirement in 1893, and the album was put together while he was serving as principal of the Mayo School of Art, now the National College of Arts in Lahore (1875-1893), and curator of the adjacent Lahore Museum. 

Lot 212. The Lockwood Kipling Album: An album of photographs of Amritsar, Lahore and other sites in India compiled by John Lockwood Kipling (1837-1911). Signed and dated Lahore, 1888. Estimate £100,000-150,000. Sold for £ 125,000 (€ 141,879). © Bonhams.

Provenance: John Lockwood Kipling.
Joseph Harris, founder of Salisbury Art College, to whom the album was given by Kipling.
Acquired from Joseph Harris' great grandson, by a former owner.
Private UK Collection.

Exhibited: John Lockwood Kipling: Arts and Crafts in the Punjab and London, Victoria and Albert Museum, London, 14 January - 2 April, 2017; Bard Gallery, U.S.A., 15 September, 2017-7 January, 2018.

Published: Julius Bryant and Susan Weber [Eds.], John Lockwood Kipling: Arts and Crafts in the Punjab and London, New York 2017, cat. 137; figs 8.1, 15.4.

Portrait of John Lockwood Kipling and Rudyard Kipling, circa 1890. 

John Lockwood Kipling was an artist, curator and school administrator who promoted and documented traditional Indian architecture and arts and crafts in a period when they were at risk from an increase in British imports to the country. His inspiration to become an artist came from a visit at the age of thirteen to the Great Exhibition of 1851, where some of the treasures from the Lahore Toshakhana, including the famous Koh-i-noor diamond, were on display. After an apprenticeship as a designer and modeller at one of the Staffordshire potteries and serving as assistant to the architectural sculptor John Birnie Philip in London, he moved to the South Kensington Museum (now the Victoria and Albert Museum) to assist Godfrey Sykes in modelling much of the terracotta for the new building. His contribution there is commemorated in a mosaic panel of 1868 over the original entrance to the museum in which he is depicted in procession immediately behind the museum's director, its architect and Sykes (see Julius Bryant and Susan Weber [Eds.], John Lockwood Kipling: Arts and Crafts in the Punjab and London, New York, 2017, p. 39.). His wedding in 1865 was attended by some of the most important artists of the time including Edward Burne-Jones and Ford Madox Brown, and in the same year he travelled with his new wife to Bombay to take a position teaching ceramics and architectural sculpture at the Sir Jamsejee Jeejeebhoy School of Art. Their son Rudyard was born that December. During his time in Bombay he contributed to the architectural decoration of many buildings including the fountain in Crawford Market. He received various commissions from the Indian Government to travel and make documentary drawings of local craft industries and his pen and ink studies were exhibited along with sample wares at international exhibitions in London (1871), Vienna (1873) and Paris (1878). In 1880 they went on display in the new India section of the South Kensington Museum and remain in the collection there. (For an example depicting carpet weavers in Amritsar dated 1870 see Susan Strong (Ed.) The Arts of the Sikh Kingdoms, London, 1999, p. 119). From 1875 until his retirement in 1893 he served as principal of the Mayo School of Art (now the National College of Arts, Pakistan) and curator of the Lahore Central Museum, a role in which he was immortalised as the 'keeper of the Images of the Wonder House' by Rudyard Kipling in Kim (1901). It was during this period that this album was compiled and it includes photographs of the school (nos. 136a, 136d) and museum (no. 136c). In 1877 he designed banners and other decorations for the Delhi Durbar. He also undertook important private commissions in England including a billiard room for the Duke of Connaught at Bagshot Park, Surrey (no. 159) which led directly to a commission by Queen Victoria for the Durbar Room at Osborne in 1890. In 1893 he retired and returned to England where he illustrated several of his son's publications.

This album gives a fascinating insight into India, particularly the Punjab, in the last quarter of the 19th century and contains images by known photographers such as Samuel Bourne and Lala Deen Dayal, but also by a number of unidentified local photographers and amateur hands. Highlights include high quality images of Amritsar and Lahore, as well as a number of photos which relate closely to Kipling and provide an interesting snapshot into this period of his life. Images of heavily ornamented architecture demonstrate his appreciataion of minute decoration, whilst photographs of his own commissions, such as the billiard room at Bagshot Park, show the result of their influence. A fascinating group depicting the interior of the New York Residence of fellow supporter of Indian arts and crafts, Lockwood de Forest, remind us of their friendship which resulted in an exhibition of works by the Ahmadabad Woodcarving Company at the Lahore Museum in 1881. It is also interesting to see handwritten annotations and some small sketches on the pages, as well as a numbered list in Kipling's hand describing the photos bound within the album.

List of photographs:

1. Lahore, Bazaar, painted and carved window, albumen print, 245 x 237 mm, page inscribed 1 / Lahore / Bazzar Hatta / vide p 125
2. Lahore, Bazaar, carved house fronts, albumen print, 269 x 215 mm, page inscribed 2 / Lahore
3. Lahore city view, donkeys, people, grain sellers, shops, albumen print, 80 x 147 mm, page inscribed 3 / Lahore
4. Lahore, Bazaar near Kotwali, albumen print, 224 x 203 mm, page inscribed 4 / near kotwali Lahore
5. Lahore, Bazaar, new shop Delhi Gate, albumen print, 260 x 240 mm, page inscribed 5 / Lahore / new shop
6. Lahore, Bazaar from Wazir Khan's Mosque towards Kotwali, albumen print, 185 x 160 mm, page inscribed 6 / Lahore
7. Lahore, Shah Almi Gate, albumen print, 204 x 250 mm, page inscribed 7 / Lahore city / Shah almi / gate
8. Lahore, Bazaar, crowds, albumen print, 188 x 250 mm, page inscribed 8 / Lahore
9. Lahore, Bazaar, window, albumen print, 228 x 235 mm, page inscribed 9 / Lahore
10. Lahore, Bazaar, albumen print, 203 x 195 mm, page inscribed 10
11. Lahore, near Mochi Gate, Shalimar Gardens, albumen print, 231 x 244 mm, page inscribed 11 / near Mochi Gate / Lahore
12. blank page
13. Lahore, Shalimar Gardens, albumen print, 212 x 270 mm, page inscribed 13 / Lahore / Shalimar / Gardens
14. blank page
15. Lahore, Wazir Khan Mosque, albumen print, 263 x 232 mm, page inscribed 15 / Lahore / Wazir Khan's mosque, small drawing
16. blank page
17. page inscribed 17 / Bombay / Jamna / Portuguese silk winding
18. blank page
19. page inscribed 19 / Lahore Jail
20. blank page
21. page inscribed 21 / Lahore Jail / Dari weaving
22. Amritsar, The Golden Temple, albumen print, photographer's reference 439, 210 x 276 cm, page inscribed Durbar Sahib. Amritsar / Durbar Sahib / Amritsar
23. Amritsar, entrance to The Golden Temple, albumen print, photographer's reference 442, 205 x 273 mm, page inscribed 23 / Durbar Sahib / amritsar / Durbar Sahib. (Golden Temple) / Amritsar 
24. Amritsar, The Akal Bunga, albumen print, photographer's reference 437, 209 x 272 mm, page inscribed Akhalboonga Amritsar
25. Amritsar, Baba Atal Temple, albumen print, photographer's reference 441, 208 x 267 mm, page inscribed 25 / Baba Atal Amritsar
26. Amritsar, panorama, albumen print, photographer's reference 436, 207 x 270 mm, page inscribed Amritsar
27. Lahore, Anarkali Garden, albumen print, photographer's reference 509, 206 x 275 mm, page inscribed 27 Anarkali Garden Lahore
28. Palm trees, Shaldera Road, albumen print, 200 x 136 mm 
29. Lahore, view from the fort, albumen print, photographer's reference 504, 268 x 209 mm, page inscribed 29 / view from fort Lahore
30. Lahore, Badshahi Mosque gateway, albumen print, photographer's reference 516, 275 x 204 mm, page inscribed Jammia Masjid / Lahore
31. Lahore, Huzuri Bagh, albumen print, photographer's reference 514, 208 x 271 mm, page inscribed 31 / Huzoori Bagh / Lahore
32. Lahore, Badshahi Mosque, albumen print, photographer's reference 502, 205 x 273 mm, page inscribed Badshahi Mosque Lahore
33. Lahore, Badshahi Mosque, albumen print, photographer's reference 500, 207 x 272 mm, page inscribed 33 / Badshahi Mosque Lahore, small drawing
34. Lahore, Naulakka Pavilion, Lahore Fort, albumen print, 139 x 202 mm, page inscribed naulakka / Lahore fort
35. Lahore, Shish Mahal, Lahore Fort, albumen print, photographer's reference 506, 200 x 272 mm, page inscribed 35 / Shish Mahal (Hall of mirrors) / Lahore fort 
36. Lahore, Wazir Khan Mosque, albumen print, 208 x 280 mm, page inscribed Court of mosque of Wazir Khan Lahore
37. Lahore, Wazir Khan Mosque, albumen print, 209 X 276 cm, page inscribed 37 / Lahore from Wazir Khan's mosque
38. Unidentified mausoleum, albumen print, 180 x 245 cm 
39. Rajputana or Gujarat, gateway, albumen print, 264 x 208 mm, page inscribed 39
40. Simla, post office, albumen print, photographer's reference 274, 203 x 274 mm, page inscribed Post Office / Simla
41. Lahore, building near Shalimar Gardens, albumen print, 205 x 275 mm, page inscribed 41 / near Shalimar Lahore
42. Lahore, man in a window, halftone with handwritten annotations, 253 x210 mm
43. A screen, albumen print, 133 x 92 mm, page inscribed 43
44. New York, interior of Lockwood de Forest's house, albumen print, 187 x 238 mm 
45. Khajuraho, Vishvanatha Temple, albumen print by Lala Deen Dayal, photographer's reference D.D. 1441, 190 x 254 mm, page inscribed 45 / Khajurhao
46. blank page
47. Rajputana, temple, albumen print, 262 x 192 mm, page inscribed 47
48. New York, interior of Lockwood de Forest's house, albumen print, 187 x 238 mm 
49. New York, Lockwood de Forest's house, sideboard, 2 albumen prints, 94 x 63 mm; 92 x 64 mm, page inscribed 49
50. New York, interior of Lockwood de Forest's house, albumen print, 186 x 239 mm
51. page inscribed 51
52. New York, interior of Lockwood de Forest's house, albumen print, 188 x 239 mm
53. New York, interior of Lockwood de Forest's house, albumen print, 187 x 238 mm, page inscribed 53 / in mr Lockwood de Forest's house / New York
54. Lahore, Punjab Government College, albumen print, 152 x 202 mm, page inscribed Punjab Government College / Lahore
55. Lahore, Anarkali Garden, albumen print, 160 x 215 mm, page inscribed 55 / Anarkali Garden / Lahore
56. Lahore, carved window, halftone, 196 x 205 mm, page inscribed Lahore
57. Lahore, street view, albumen print, 198 x 150 mm, page inscribed 57 / Lahore
58. Lahore, Tomb of Anarkali, albumen print, 144 x 205 mm, page inscribed Anarkali's Tomb. Lahore / (did duty as a Christian Church)
59. Delhi, Iron Pillar, Qutb complex, Woodburytype by Samuel Bourne, photographer's reference 1376, 144 x 177 mm, page inscribed 59
60. Lahaul, house, albumen print, 138 x 200 mm, page inscribed Lahoul
61. Sirhind, ruins, albumen print, 210 x 270 mm, page inscribed 61 / La Sirhind
62. Lahore, Rutton Singh's Tank, albumen print, 148 x 198 mm, page inscribed 62 / Lahore 75 / Rutton Singh's tank
63. Jaipur, Tripolia Gate, albumen print, photographer's reference 149, captioned in negative, 192 x 268 mm, page inscribed 63 / Jeypore
64. Lahore, The Punjab Public Library, albumen print, 137 x 190 mm, page inscribed Lahore
65. Shimla, street view, albumen print, photographer's reference 281, 204 x 274 mm, page inscribed 65 / Simla
66. Lahore, Shahdara Bagh, gateway, albumen print, 138 x 197 mm, page inscribed Shahdera / Lahore
67. Lahore, Hazuri Bagh, gelatin silver print, 203 x 270 mm, page inscribed 67 / Huzoori Bagh / Lahore / XX p 31
68. Lahore, Government House, albumen print, 154 x 205 mm, page inscribed Kushti Goombaz / Govt. House Lahore
69. Lahore, Wazir Khan Mosque, gelatin silver print, 208 x 273 mm, page inscribed 69 / Wazir Khan's Mosque Lahore / 15
70. Lahore, Rutton Singh's Tank, albumen print, 142 X 195 mm, page inscribed 70 / and at 62. 75
71. Lahore, street view outside Wazir Khan Mosque, gelatin silver print, 207 x 273 mm, page inscribed 71 / Ghauk Wazir Khan / Lahore
72. blank page
73. Lahore, the Zamzana Gun, 2 gelatin silver prints, 207 x 272 mm; 72 x 97 mm, page inscribed 73 / The Gun Zumzana / Lahore
74. Lahore, unidentified building, gelatin silver print, 78 x 98 mm; Jahangir's Mausoleum, halftone 9.2 x 10.7 cm, page inscribed 74 / Lahore
75. Lahore, Rutton Singh's Tank, gelatin silver print, 202 x 270 mm, page inscribed 75 / Rutton Singh's Tank XX 62-70 / Lahore
76. Lahore, Chajju da Chaubara, platinum print, 210 x 162 mm, page inscribed Small brick / shrine – Chubara of Chujju Bhagat / see opposite page
77. Lahore, Chajju da Chaubara, albumen print, 206 x 272 mm, page inscribed 77 / Chubara of Ghajju Bhagat
78. blank page, some drawings
79. Lahore, Hindu temple, albumen print, 205 x 272 mm, page inscribed 79 / Lahore
80. Lahore, Aitchison College, albumen print, 134 x 187 mm, page inscribed 80
81. Lahore, Aitchison College, gelatin silver print, 206 x 205 mm, page inscribed 81 / Aitchison / (Chiefs') College / Lahore
82. blank page
83. Lahore, unidentified tomb, gelatin silver print, 206 x 273 mm, page inscribed 83 / Lahore
84. blank page
85. Lahore, Tomb of Asif Khan, albumen print, 253 x 213 mm, page inscribed 85 / Tomb of Asof Jah / Shahdera / Lahore
86. page inscribed South Head / Sydney
95. Lahore, Sardar Jahan Masjid, albumen print and silver print, 114 x 156 mm; 126 x 170 mm, page inscribed 95 / Unfinished brick mosque / Mozung Lahore, small drawing
96. Shimla, street view, albumen print, 214 x 280 mm, page inscribed Simla
97. Shimla, street view, albumen print, photographer's reference 278, 211 x 277 mm, page inscribed 97 / Simla
98. Unidentified tomb, albumen print, 277 x 205 mm
99. Lahore, Wazir Khan Mosque, albumen print, 213 x 300 mm, page inscribed 99 / Photographed and presented by Rai Bahadur Kunhya Lal C.E. S.C. Engr. L. Division / Wazir Khan's Mosque Lahore)
101. Delhi, Qutb complex, albumen print, 290 x 242 mm, page inscribed 101 / Delhi
102. blank page
103. Peshwar, the mission church, 3 albumen prints, 91 x 108 mm; 88 x 112 mm; 98 x 152 mm; Lahore, 2 albumen prints, 75 x 95 mm; 75 x 100 mm, page inscribed 103 / Mozung Lahore / Mission church Peshawar 
104. Lahore, Shalimar Gardens, albumen print, 139 x 195 mm, page inscribed Shalimar Garden Lahore
105. Lahore, Shalimar Gardens, albumen print, 136 x 212 mm, page inscribed Shalimar Garden Lahore
106. Delhi, Qutb complex, interior of the colonnade, Woodburytype attributed to Samuel Bourne, 142 x 175 mm, page inscribed Delhi
107. Delhi, the Red Fort, Hall of Audience, Woodburytype attributed to Samuel Bourne, 139 x 175 mm, page inscribed Delhi
108. blank page
109. Delhi, the Red Fort, Moti Masjid, Woodburytype by Samuel Bourne, photographer's reference 1351, 145 x 173 mm, page inscribed Delhi
110. blank page
111. Delhi, Humayan's Tomb, Woodburytype attributed to Samuel Bourne, 137 x 174 mm, page inscribed Delhi
112. blank page
112a. Delhi, Kashmir Gate, Woodburytype attributed to Samuel Bourne, 137 x 185 mm, page inscribed Delhi
113. Delhi, the Jama Masjid, the Qutb Minar, the Chandni-Chowk, the Kashmir gate, 4 halftones, 136 x 184 mm; 110 x 145 mm; 147 x 107 mm; 92 x 116 mm; 84 x 112 mm, page inscribed 113
114. Amritsar, The Golden Temple, albumen print, 15.6 x 13.2 cm
115. Delhi, Qutb Minar, Woodburytype by Samuel Bourne, photographer's reference 1370, 174 x 179 mm, page inscribed 115
116. blank page
117. Lahore, street view, albumen print, 274 x 232 mm, page inscribed 117 / Lahore
118. Lahore, Chief Court and Lord Lawrence statue, albumen print, photographer's reference 507, 154 x 273 mm, page inscribed Lahore Chief Court / Lord Lawrence Statue
119. Lahore, Chief Court and Lord Lawrence statue, albumen print, photographer's reference 503, 172 x 274 mm, page inscribed Chief Court Lahore / Boehm's Lawrence Statue
120. blank page
121. Allahabad, Public Library, albumen print, 202 x 287 mm, page inscribed 121 / allahabad
122. halftone page depicting paintings of India, Egypt and England, 298 x 228 mm
123. page inscribed 123 / Public Library / Lahore / XX 64 – and small drawing
124. blank page
125. Lahore, window overlooking bazaar, albumen print, 290 x 242 mm, page inscribed 125 / Lahore / vide p 1.
126. blank page
127. Lahore, lady at window, albumen print, 290 x 231 mm, page inscribed 127 / Lahore
128. blank page
129. Amritsar, The Golden Temple, pietra dura inlay, albumen print, captioned in negative, 292 x 240 mm, page inscribed 12

130. blank page
131. Amritsar, Akal Bunga, Durbar Sahib, albumen print, captioned in negative, 241 x 292 mm, page inscribed 131
132. blank page
133. Amritsar, City Gate, albumen print, captioned in negative, 234 x 292 mm, page inscribed 133
134. Agra, Mausoleum of Akbar, Fatehpur Sikri, Taj Mahal, 3 halftones, 189 x 116 mm; 130 x 142 mm; 112 x 93 mm
135. Agra, Baroda, Ajodhya, Babar's Mosque, Taj Mahal, Baroda College, 3 halftones, 220 x 130 mm; 130 x 140 mm; 90 x 115 mm, page inscribed 135
136. Unidentified interior and exterior, 2 albumen prints, 143 x 94 mm; 144 x 95 mm
136a. Lahore, School of Art, gelatin silver print, 154 x 201 mm, page inscribed School of Art / Lahore
136b. Sydney, Post Office, albumen print by Charles Bayliss, photographer's blind stamp, 154 x 200 mm, page inscribed Post Office / Sydney N.S.W.
136c. Lahore, New Museum, albumen print, 133 x 194 mm, page inscribed New Museum Lahore / 5, small drawing
136d. Lahore, School of Art, albumen print, 154 x 201 mm, page inscribed 93 / School of Art / Lahore / (4)
137. Unidentified interior, albumen print, 149 x 106 mm, page inscribed 137
138. (blank page)
139. (blank page)
140. (blank page)
141. (blank page)
142. (blank page)
143. (blank page)
144. (blank page)
145. (blank page)
146. (blank page)
147. (blank page)
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158. Bagshot Park, mantelpiece, albumen print, 170 x 130 mm, page inscribed mantel-piece / Bagshot Park
159. Bagshot Park, billiard room, albumen print, 192 x 264 mm, page inscribed Billiard room Bagshot Park
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163. Unidentified street view, albumen print, 185 x 106 mm 
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177. Lahore, Punjab Government College, albumen print, photographer's reference 520, 274 x 206 mm.

• The Samsara Collection of Indian Paintings comprising 44 miniatures which cover two main schools, Pahari and Rajasthani, from the 17th to the mid-19th centuries, and also some Mughal works, sold for a combined total of £553,750. A work, possibly illustrating the story of Madhavanala and Kamakandala, dated circa 1780 sold for £81,250, and an illustration from the Sundar Shringar, also dated 1780, made £68,750.

Lot 127. A maiden reclining languorously on a bed on a terrace, smoking a hookah, with two female attendants, perhaps an illustration to the story of Madhavanala and Kamakandala, Bundi, circa 1780, gouache and gold on paper, red border, stamp to reverse reading Kumar Sangram Singh of Hawalgar, 295 x 240 mm. Estimate £20,000 - 30,000. Sold for £ 81,250 (€ 92,221). © Bonhams.

Published: Jean Soustiel and Marie-Christine David, Miniatures Orientales de l'Inde-2, Paris, 1974, p.61, no. 48
Robert Sigalea, La Médecine Traditionnelle de l'Inde, Geneva, 1995, pl. VII
Simon Ray, Indian and Islamic Works of Art, London, 2008, no. 62.

Note: A related composition, though without the lush vegetation behind the terrace seen in the present lot, was in the collection of the economist J. K. Galbraith: see M. S. Randhawa and J. K. Galbraith, Indian Painting: the scenes, themes and legends, Bombay 1968, pp. 84-86, pl. 15. It is suggested there that Galbraith's painting may illustrate the folk tale (originally composed by the poet Jodh in 1583) of Madhavanala, the handsome bard, with whom the beautiful courtesan Kamakandala falls in love, overpowered by his charms, as are all women, to the extent that rulers banish the singer from their cities. The two therefore succumb to lovesickness as a result of this enforced separation. 

For similar examples of the distinctive vegetation in the background, typical of Bundi and Kotah painting, see B. N. Goswamy, Essence of Indian Art, San Francisco 1986, p. 91, no. 56, and p. 93, no. 58.

Lot 149. An illustration from the Sunder Shringar: Radha and Krishna lying on a bed within a pavilion, Kangra or Guler, circa 1780, gouache and gold on paper, dark blue border, four lines of text in nagari script verso, cover sheet with the stamp of the Royal Library of Mandi, 194 x 285 mm. Estimate £50,000 - 80,000. Sold for £ 68,750 (€ 78,033). © Bonhams.

Provenance: Acquired from the Royal Library of Mandi in 1969.
Sotheby's, Indian & Southeast Asian Works of Art, New York, 19th March 2008, lot 208.