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Kent Cat Final KENT ANTIQUES ISLAMIC & INDIAN ART SELECTED WORKS OF ART FROM THE ISLAMIC WORLD SELECTED WORKS OF ART FROM THE ISLAMIC WORLD KENT ANTIQUES Flat 3 107 Queen’s Gate London, SW7 5AG England tel. + 44 (0) 20 7370 2914 mob. + 44 (0) 7887 985951 email. [email protected] www.kentantiques.com PREFACE This catalogue developed from an effort to catalogue a remarkable selection of Islamic works of art which have been gathered with extreme care for their quality, provenance and condition. The catalogue demonstrates expressions from almost all of the traditional Islamic art forms in calligraphy, textiles, ACknowlEdgEmEnts ceramics, metalwork, lacquered works, arms and armour. We are indebted to many individuals for their assistance during We have taken care to select works of art that will not only the preparation of this catalogue. Mr Tim Stanley from the attract the attention of collectors but will also introduce the Victoria and Albert Museum kindly helped with the translation reader to the extraordinary richness and beauty of Islamic art. of Ottoman Turkish verse to English. Special thanks are due Every single work of art published in this catalogue can be to Mr. Nabil Saidi for his generous assistance and valuable appreciated for its formal and decorative property as well as remarks especially on works on paper. Distinguished epigraphist its art-historical, cultural and/or religious value. Mrs. Manijeh Bayani-Wolpert kindly offered her help for deciphering Persian and Turkish inscriptions and seals. We are The accompanying texts are meant to provide a basic grateful to Mr. Garo Kürkman for his insightful comments on description of the piece and information about its functional metalwork. We also would like to thank Professor Nurhan Atasoy and artistic background as well as bibliographic information for generously sharing her expert opinion on Ottoman textiles. about published comparable pieces in world museums and international collections. It is a delightful privilege for me to I would also like to take this opportunity to express my thanks offer such a broad spectrum of rare and fresh-to-the-market to my brother Dr Bora Keskiner who shouldered, in large measure, objects to both institutional and private collectors. the task of preparing this catalogue. The effective presentation of the materials would not have been possible without the participation of Peter Keenan, whose design served both Mehmet Keskiner Director elegance and clarity, and fine art photographer Alan Tabor. A lARgE iznik PottERy jug Turkey of compressed globular form with cylindrical neck Circa 1570 and S-shaped handle, painted in underglaze cobalt Height: 22 cm blue, turquoise and relief red and outlined in black with an all over pattern of four-dotted roundels interposed by tulips, the rim, base, neck and handle with scroll and geometric bands. A comparable Iznik jug, decorated with similar motifs is published in Bernard Rackham’s Islamic Pottery and Italian Maiolica , Faber and Faber, London, 1959, pl. 223. Also see: Nurhan Atasoy & Julian Raby’s Iznik , Alexandria Press London, 1994. Another example, decorated in a similar manner, is in the Sadberk Hanim Museum in Istanbul, see Hülya Bilgi, Asırlar Sonra Bir Arada – Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler , Vehbi Koç Vakfı, 2005, p. 72-73. Also see: Hitzel, Frédéric & Mireille Jacotin. Iznik – L’Aventure d’une Collection , Musee National de la Renaissance – Chateau d’Ecouen, Paris, 2005, p. 140-145. Provenance: Private French Collection An imPoRtAnt illuminAtEd CAlligRAPHiC PAnEl Signed by The present calligraphy is a rare and important work the Timurid Vizier by Timurid vizier Abdallah al-Marwarid. It demonstrates Abdallah al-Marwarid Abdallah’s mastery in thuluth , naskh and riqa ‘ scripts. A comparable calligraphy signed by Abdallah al-Marwarid, Timurid dated 921 AH / 1515AD, is published in Abolala Dated 903 AH / 1497 AD Soudavar’s Art of the Persian Courts , Art and History Height: 26.2 cm Trust Collection, Rizzoli, New York, 1992, p. 157. The text Width: 37.3 cm is an Arabic proverb about titles. ABDALLAH AL-MARWARID (d. 1516) Timurid court official, poet, scribe, and musician. His father, Muhammad Marwarid, had moved to Herat from Kirman during the reign of Abu Said (855-73/1451-69) and later became that ruler’s vizier. Subsequently he performed the same function for Husayn Bayqara until retiring to become custodian at the shrine of Abdallah Ansari. Muhammad married the daughter of another Timurid vizier, Muzaffar Sha‘bān- kara of Qarabagh (d.1486). Abdallāh Marwarid was a person of many talents. He enjoyed a high reputation as performer on the musical instrument qanun and composed poetry under the penname ( takhallus ) Bayānī. He wrote a narrative poem, Khusrau u Shirin and various shorter works which were collected into a dīvān entitled Munis al-Ahbab . Abdallah was a close associate of Husayn Bayqara and served that ruler in various capacities. Shortly after the latter’s accession to the throne in 1470 Abdallah was appointed sadr and served in that capacity for several years. Later he composed official letters and documents and became the keeper of the royal seal. His contemporaries state that he displayed a remarkable aptitude for epistolary composition and was a skillful scribe particularly in the ta’liq script used for correspondence. Abdallah also compiled an insha manual consisting of documents and letters in various styles. During the vizierate of Qavam-al-din Nizam-al-mulk (1486-98), Abdallah withdrew from public life for several years. Writing in 1490-91, Ali Shir Nava’i remarks that Abdallah had resigned his court position and was living in retirement. Following the demise of Qavam-al-din, Abdallah returned to Husayn Bayqara’s service with the rank of amir and was given the privilege of being the first of the amirs to affix his seal on documents, an honor previously accorded to Ali Shir Nava’i. During this period Abdallah became one of Husayn Bayqara’s closest Provenance: associates. He was, for example, entrusted with ministering Ex private collection donated to to the dying Ali Shir in 1500. He passed away in 1516. benefit the University of Oxford A kutAHyA CERAmiC BottlE dECoRAtEd witH FlowERs And lEAVEs Turkey The body of flaring conical form rising to the 18th Century angled sloping shoulder, the tubular neck Height: 26.9 cm with a raised band below the slightly flaring mouth, the white surface painted in typical colours with bands of meandering flowering sprays, leaf-motifs around the neck, the mouth with small floral sprays, large conserved crack on shoulder. A comparable Kutahya bootle is published in Şebnem Akalın & Hülya Bilgi, Yadigar-ı Kütahya - Suna ve İnan Kıraç Koleksiyonundan Kütahya Seramikleri , Akdeniz Medeniyetleri Araştırma Enstitüsü, İstanbul, 1997, p. 67. A CAlligRAPHiC PAnEl signEd mEHmEd Es’Ad Al-yEsARi (d. 1798) Signed Mehmed Es’ad The couplet in Persian: al-Yesari “Fanist jihan dar u vafa nist Turkey Baqi hama ust jumla fanis t” Dated (11)96 AH / 1781 AD (This world is perishable and has no fidelity Height: 35.8 cm Only God is eternal, the rest is mortal) Width: 49 cm Mehmed Es’ad al-Yesari Yesari Mehmed Es'ad was born in Istanbul, the son of Kara Mahmud Aga. The nickname al-Yesari derives from the fact that he was left handed. In fact he was also paralyzed on the right side and afflicted with tremors on the left, making his talent for calligraphy, and in particular the tal'iq script even more notable. He first studied with a master of ta'liq , Shaykh al-Islam Wali al-Din Efendi (Veliyüddin Efendi) and then with Dedezadeh Muhammad Sa’id Efendi from whom he received his calligrapher's diploma (ijaza) in 1754. The present panel ( levha ), dated AH 1196, corresponds to the very beginning of what can be described as Yesari’s career peak with his innovative style, between AH 1196/1782 AD and AH 1200/1786 AD. Having closely followed the style of the great Safavid master of nasta'liq script, Mir ‘Imad (1554-1615) - he was sometimes known as ‘ Imad-i Rum , the ‘Imad of Anatolia, Yesari began to develop his own style which led to a new Ottoman method. Yesari Es’ad was appointed calligraphy instructor at the Imperial Palace by Sultan Mustafa III (r. 1789-1807) and Sultan Selim III (r. 1789-1807) admired his monumental inscriptions. He wrote the inscription of a panel in the mihrab of the Hagia Sophia and others for the Tomb of Sultan Mehmet II, the Barracks of the Black Eunuchs at Topkapi, the Beylerbeyi Mosque and the Aynali Kavak Sarayi which are amongst the finest examples of nas-ta‘liq in Ottoman monumental calligraphy. His other recorded works are calligraphic samples, one dated AH 1193/1779-80 AD which he copied from Mir ‘Imad (Mahdi Bayani, Ahval va Asar-e Khosh-Nevisan , Vol. III, Tehran, 1348, p. 633). The present panel is a masterpiece, demonstrating the mastery of the calligrapher in the nas-ta‘liq script with its wonderfully well-proportioned and sharp letters. Provenance: Ex-private UK collection An unusuAl sAmson CAndlEstiCk witH BuddHA-liPs AFtER An iznik oRiginAl France With slightly tapering cylindrical body and flat wide shoulder, 19th Century mouth with flaring rim, underglaze painted stylised green wave Height: 20.5 cm and lip motifs around both the upper and lower parts of body. Diameter: 16 cm The Iznik archetype which was used as a model for the present piece is published in the exhibition catalogue Exposition d’Art Musulman , Alexandrie, 1925, pl. 34. Compared with this archetype, the candlestick in hand demonstrates the precision and mastery achieved by the Samson workshop. A comparable Iznik bowl, decorated with underglaze painted lip motifs is in the Sadberk Hanim Museum in Istanbul, see Hülya Bilgi, Asırlar Sonra Bir Arada – Sadberk Hanım Müzesi’nin Yurtdışından Türkiye’ye Kazandırdığı Eserler , Vehbi Koç Vakfı, 2005, p.
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