- 39
Nizami (d.1209 AD), Iskandarnameh, copied by Shah Mahmud Nishapuri, Persia, Safavid, dated 940 AH/1533 AD
Estimate
80,000 - 100,000 GBP
bidding is closed
Description
- ink on paper - bound manuscript
- 29.4 by 18.5cm.21.3 by 11.9cm. text panel
Persian manuscript on polished paper, 68 leaves plus 2 fly-leaves, text arranged in 4 columns, written in fine nasta'liq in black ink, ruled in red, green, gold and blue, titles in red within gold and polychrome cartouches, opening bifolium with gold and polychrome shamsas, followed by a double page frontispiece decorated with gold and polychrome interlacing scrolls and palmettes, f.42b with illuminated headpiece, in fine Qajar lacquer binding decorated with animals and vegetation
Provenance
An ownership inscription states that the manuscript was given as a gift from Muhammad Sa’id al-Ashraf to Muhammad Hasan-'ali Bayg in 1135 AH (1722-23 AD).
Condition
In very good condition, minor smudges to the ink and minor stains, minor area of restoration to the binding. The Khamsa has been split and re-bound in Qajar period; this volume contains the Sharafnama (first section of the Iskandarnama) and the Makhzan al-Asrar, lacking some pages, 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
Shah Mahmud, known as Zarrin-qalam (Golden Pen), was born in the city of Nishapur, Persia, and studied calligraphy under the supervision of Abdi al-Katib Nishapuri. He specialised in the style of nasta'liq script with the famous master Sultan Ali Al-Mashhadi (d.1519).
Shah Mahmud is thought to have been Shah Isma'il's (d.1524) favourite calligrapher, and he was held in such a high esteem that during the campaign against the Ottoman Sultan Selim I, he was locked up by the ruler alongside the painter Behzad, for fear of their possible kidnap by the Ottomans (see S. Rado, Turk Hattatlari, Istanbul, 1980, p.67). Under the patronage of Shah Tahmasp (r.1524-76) these two masters later combined to produce one of the most spectacular manuscripts of Nizami's Khamsa, now in the British Library (inv.no.2235). Shah Mahmud later moved to Mashhad and spent the rest of his life copying calligraphic pages and teaching pupils, including Qazi Ahmad, who met him in Mashhad. He died in 1564. Celebrated as one of the greatest masters of nasta'liq script, Shah Mahmud's works have been collected by royal bibliophiles across the Muslim world. It has been noted that particularly members of the Ottoman elite adored him. A magnificent Qur'an manuscript by him, transcribed in nasta'liq, can be found in the Topkapi Palace. See also M. Serin, Hat Sanatı ve Meshur Hattatlar, Kubbealti, Istanbul, 1999.
Shah Mahmud's recorded work includes manuscripts and calligraphic pages dated between 923 AH (1517-18 AD) and 982 AH (1574-75 AD) (Bayani vol.I, pp.295-304; vol.II, pp.305-7; Minorsky 1959, pp.135-8). A calligraphic quatrain by the calligrapher is included in this sale as lot 69. Other works by Shah Mahmud Nishapuri sold in these rooms include a Halnameh formerly in the Ghazi Collection, 19 October 2016, lot 133, and a quatrain incorporated within a royal album page, sold 6 October 2010, lot 56.
The binding of the present manuscript is an extremely fine example of late Zand or Qajar lacquer-work. The central medallion depicts a dragon attacking a phoenix, while all around other animals and fantastic beasts fight within lush vegetation. The art of lacquer bookbinding reached its peak during the Qajar period. Although inspired by Safavid designs, the oeuvre is characterised by finely drawn and densely packed scenes depicting animals and hunters. For a Safavid example of a binding which shares a similar arrangement of a central medallion with animals in chase, see Haldane 1983, plate 91.
Shah Mahmud is thought to have been Shah Isma'il's (d.1524) favourite calligrapher, and he was held in such a high esteem that during the campaign against the Ottoman Sultan Selim I, he was locked up by the ruler alongside the painter Behzad, for fear of their possible kidnap by the Ottomans (see S. Rado, Turk Hattatlari, Istanbul, 1980, p.67). Under the patronage of Shah Tahmasp (r.1524-76) these two masters later combined to produce one of the most spectacular manuscripts of Nizami's Khamsa, now in the British Library (inv.no.2235). Shah Mahmud later moved to Mashhad and spent the rest of his life copying calligraphic pages and teaching pupils, including Qazi Ahmad, who met him in Mashhad. He died in 1564. Celebrated as one of the greatest masters of nasta'liq script, Shah Mahmud's works have been collected by royal bibliophiles across the Muslim world. It has been noted that particularly members of the Ottoman elite adored him. A magnificent Qur'an manuscript by him, transcribed in nasta'liq, can be found in the Topkapi Palace. See also M. Serin, Hat Sanatı ve Meshur Hattatlar, Kubbealti, Istanbul, 1999.
Shah Mahmud's recorded work includes manuscripts and calligraphic pages dated between 923 AH (1517-18 AD) and 982 AH (1574-75 AD) (Bayani vol.I, pp.295-304; vol.II, pp.305-7; Minorsky 1959, pp.135-8). A calligraphic quatrain by the calligrapher is included in this sale as lot 69. Other works by Shah Mahmud Nishapuri sold in these rooms include a Halnameh formerly in the Ghazi Collection, 19 October 2016, lot 133, and a quatrain incorporated within a royal album page, sold 6 October 2010, lot 56.
The binding of the present manuscript is an extremely fine example of late Zand or Qajar lacquer-work. The central medallion depicts a dragon attacking a phoenix, while all around other animals and fantastic beasts fight within lush vegetation. The art of lacquer bookbinding reached its peak during the Qajar period. Although inspired by Safavid designs, the oeuvre is characterised by finely drawn and densely packed scenes depicting animals and hunters. For a Safavid example of a binding which shares a similar arrangement of a central medallion with animals in chase, see Haldane 1983, plate 91.