A Rare Early Umayyad Marble Capital, Cordoba, Spain, Period of Abd Al-Rahman II (206-38 AH/822-52 AD)

of characteristic form, carved and drilled with an elaborate lattice of acanthus scrolls and vegetation, the four corners with elegant volute scrolls

ex-European Private Collection

In good condition, some abrasion to surface and minor cracks to extremities, consistent with age, 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."

Two similar capitals from Cordoba are now in the Casa de los Girones, Granada, Museo de la Alhambra (inv.no. R.E. 1633 and R.E. 1328), published in Paris 2001, p.97, no.54 and Granada 1995, no.61. It has been noted by Dr Pura Marinetto Sanchez that such capitals come from the period of the restoration and enlargement of the Great Mosque of Cordoba during the reign of Abd al-Rahman II (r.206-38 AH/822-52 AD) in the second quarter of the ninth century AD (Granada 1995, p.263).

Three marble capitals in the Museo Arqueologico Provincial de Cordoba, attributed to Cordoba and Madinat al-Zahra, illustrate the evolution of this type of capital in Umayyad Spain during the subsequent reigns of Abd al-Rahman III (912-961 AD) and al-Hakam II (961-976 AD) (Dodds 1992, nos.37-39).

The form, which ultimately derives from the classical Corinthian prototype, assumes a more lacey, stylised appearance in the Visigothic and early Umayyad periods, influenced by current trends in the Byzantine world where the tendency to drill rather than carve resulted in a more "honeycombed" effect (Dodds 1992, p.247).