- 332
A small Safavid brass jar, Persia, 16th Century
Estimate
4,000 - 6,000 GBP
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Description
- metal
cast in an inverted baluster form with a high shoulder and shallow vertical neck, the chased decoration divided into horizontal registers, around the shoulder six four-armed cusped cartouches enclosing nasta'liq, the interstices with symmetrical arabesques of interlacing split-plamettes, below this a narrow band composed of four calligraphic cartouches separated by quatrefoil motifs, around the base friezes of rising and falling cusped lappets forming an undulating cartouche inhabited by a garland of interlocking formal and naturalistic floral elements, the upper shoulder with a band of stylized palmettes connected by looping tendrils, the neck with a frieze of interlocking trefoil motifs, all on a hatched ground with traces of black substance, pierced twice through the neck
Condition
Some wear, notably around broadest part of shoulder, the two piercings on the neck are later, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
inscriptions
Two benedictory couplets, one from the Bustan of Sa'adi and one attributed to Daqiqi (both common in the late fifteenth century), and three couplets from a ghazal (poet unidentified). For similar works with the two benedictory couplets, see: A.S. Melikian, 1982, pp.156, no.65; cat. no.110, p.252 & cat.115, p.257. This jar is densely and beautifully decorated with a variety of designs and calligraphy typical of the first half of the Safavid period in both style and content. The shape of the jar is extremely rare for metalwork at this time. Its origin lies in Chinese porcelain of the form known as meiping though the neck is broader than usually associated with the ceramic prototype and may indicate that it was once covered (London 2009, p.153, no.69). The production of the jar coincides with the reign of the Wanli emperor (r.1573-1620). During his long reign production of porcelain at Jingdezhen increased and was distributed in ever greater numbers, both internally and for export.
Two benedictory couplets, one from the Bustan of Sa'adi and one attributed to Daqiqi (both common in the late fifteenth century), and three couplets from a ghazal (poet unidentified). For similar works with the two benedictory couplets, see: A.S. Melikian, 1982, pp.156, no.65; cat. no.110, p.252 & cat.115, p.257. This jar is densely and beautifully decorated with a variety of designs and calligraphy typical of the first half of the Safavid period in both style and content. The shape of the jar is extremely rare for metalwork at this time. Its origin lies in Chinese porcelain of the form known as meiping though the neck is broader than usually associated with the ceramic prototype and may indicate that it was once covered (London 2009, p.153, no.69). The production of the jar coincides with the reign of the Wanli emperor (r.1573-1620). During his long reign production of porcelain at Jingdezhen increased and was distributed in ever greater numbers, both internally and for export.