Disorderly Conduct?: F.R. Martin and the Bahram Mirza Album Author(s): David J. Roxburgh Source: Muqarnas, Vol. 15 (1998), pp. 32-57 Published by: BRILL Stable URL: http://www.jstor.org/stable/1523276 Accessed: 15/07/2009 16:28

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http://www.jstor.org DAVIDJ. ROXBURGH

DISORDERLYCONDUCT?: F.R. MARTINAND THE BAHRAMMIRZA ALBUM

In the course of my research on albums made during From this description one can identify materials re- the Timurid and early Safavid periods (fifteenth and lated to the Ya'qub Beg Album (H. 2153); in addi- sixteenth century), it became clear that most of them tion to the general pictorial subjects he describes, it had been altered in varying degrees in later times. A still contains the Florentine etching of Scanderbeg.6 case in point is a Safavid album assembled for Prince Martin also claims that two paintings attributed to the Bahram Mirza, brother of Tahmasp, in 1544- artist Bihzad, Portrait of Husayn Mirza and Por- 45 by Dust , now in the Topkapi Palace trait of a Dervish from , came from the Bellini Library (H. 2154). The Swedish-born collector-scholar- Album. These two paintings share characteristics that dealer F.R. Martin once owned many items from this connect them to the Bahram MirzaAlbum (H. 2154).7 Bahram Mirza Album which he claimed came from An attempt to reconcile his description of the Belli- the so-called Bellini Album, now at the Metropolitan ni Album with the album by the same name now in Museum of Art in New York. New York and the materials related to those in the Martin refers numerous times to the Bellini Album Bahram Mirza Album and Ya'qub Beg Album yields in his Miniature Painting and Painters of Persia, India, two possible alternative conclusions: one is that the and Turkeyfrom the 8th to the 18th Century (1912),1 so Bellini Album Martin describes may have been an Ot- named because Gentile Bellini was believed to have toman gathering of choice folios from favorite albums been the artist of one of its paintings. It was said to in the imperial library, trimmed to uniform size and contain paintings, drawings, and calligraphies span- brought together in a new binding during the reign ning the fourteenth, fifteenth, and sixteenth centu- of Sultan and subsequently disassembled ries.2 Martin believed that it was assembled in the reign under Abdiilaziz in the nineteenth century;8the other of the Ottoman sultan Ahmed I (r. 1603-17), and he that Martin's Bellini Album is nothing more than a explains that later Sultan Abdiilaziz (r. 1861-76) pre- figment of his imagination, an object whose existence sented it to a state official, and then, after the offi- he wished us to believe in.9 cial's death, that it was "divided among his sons."3The Of the two possibilities, I prefer the second. We can portion belonging to one of the sons was brought to discount the first on the following grounds. While the Martin at the Swedish legation at , and practice of mining older albums for desirable mate- he purchased it.4 rials is attested by several instances, the modusoperan- Martin's references to the Bellini Album in his book di of album production involved making new margins reveal several intriguing inconsistencies. His scattered for older album folios. In the process the materials descriptions in fact refer to items in several different assembled were not necessarily altered, but they were albums, now in 's Topkapi Palace Library. In always reframed. Thus, if the Bellini Album is a por- one place he writes: tion of an Ottoman album made at the time of Sul- tan Ahmed I, we would expect its folios to have mar- In its original form the album contained a large num- gins contemporary with his rule.10 This is not the case ber of the most wonderful of animals in the drawings for all of its folios. There is also the problem posed Chinese ornamental of divers kinds style, early drawings by the Ya'qub Beg Album: with one-hundred-and-nine- of work..., a few 13th century miniatures, a copy of the ty-nine folios, it is difficult to imagine that this is only famous early Florentine etching representing Scander- a portion of a much album as Martin beg..., of which the copy now in the print room of the larger suggests, the structural limitations of a leather-and- Berlin library is considered to be unique, etc., etc.5 given pasteboard binding. Further, the Bellini Album bears F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 33 no relation to Martin's description in either its con- ascriptions comparable to the paintings once owned tents or its physical form. by Martin and that is the one assembled by Dust Elsewhere in his text Martin worries about the Istan- Muhammad in 1544-45 for Bahram Mirza.17 Dust bul albums' security. He asks whether one album - Muhammad provided paintings and drawings with then in the private library of Abdilhamid II at the attributions and other comments generated by his Ylldiz Sarayl - is "still in safe custody there?,"ll and connoisseurial method. Recently, scholars noted the remarks that another (most likely the Baysunghur similarity between some of the paintings once owned Album, H. 2152) "at present so jealously guarded, will by Martin and those in the Bahram Mirza Album, probably experience the same fate as all such treasures positing their parent context in it.18 In light of my in the East, and sooner or later be sold secretly in detailed research the identity is incontrovertible, and or London."12 Perhaps the latter was wishful one folio that was detached can now be reconstruc- thinking on his part, though surely he would have ted from its separate pieces. To this reconstructed folio had to bid against equally avid collectors and dealers, may be added two other folios that passed through assuming that he belonged to that select group. Al- Martin's hands, as well as three album folio pieces, mechanisms though we may never know the precise and four other folios now bound in yet another which he the album it would by acquired materials, sixteenth-century Safavid album (all are described in seem clear that his and confusing contradictory the appendix). references served a purpose.13 Martin felt compel- The identification of materials once bound into the led to invent an album as a red that would herring Bahram Mirza Album calls into question our under- conceal the means - licit or illicit - which he by standing of that album. Indeed, they have a signifi- materials from the Istanbul collections. His acquired cant impact on the shape of the album and its illus- fears about the future of the Istanbul albums be may tration of an art history as conceptualized by the album's more than an exorcism of - classic nothing guilt compiler Dust Muhammad. Before returning to a in Fur- psychoanalytic "projection," today's parlance. fuller explication of the relationships of the materi- ther evidence of the of Martin's inconsistency story als to others in the Bahram Mirza Album, the materi- is the of the Portrait of a Dervish from Bag- publication als will be summarized. At the end of the essay I will hdad Gaston in 1907.14 Here the by Migeon portrait return to Martin and his connection with the Bah- bears the de caption "Bibliotheque Constantinople" ram Mirza Album. suggesting its presence in Istanbul up until that time.15 This offers a that chronological problem given MATERIALS FROM THE BAHRAM MIRZA Martin claimed the to have been of the portrait part ALBUM Bellini Album which had left an imperial library the of Abdulaziz 1861-76). setting during reign (r. A Dismantled Folio. Published for the first time in Martin's Miniature Although single-page paintings thought to have come from the Bahram Mirza Album Painting and Painters are a group of paintings data- have been published widely and exhibited, only rare- ble to the late Timurid and early Safavid periods in- ly is their physical structure considered or explained. cluding several works by Bihzad, and others by 'Abd Many items are inscribed with fragmentary rulings and al-Samad and Haydar 'Ali. Many bear illuminated as- are attached to margins. Combined with the diagnos- criptions that identify their artists, all of whom were tic illuminated captions written in nasta'liq script and famous figures in the history of Persianate painting. executed in or over or These attributions must have greatly increased their gold opaque pigment plain illuminated both and market value at a time when European scholars like grounds rulings margins evidence for items as Martin, Georges Marteau and Henri Vever, E. Blochet, provide identifying single of the Bahram Mirza Album folios. The and Ph.W. Schulz, were writing histories of Per- fragments of evidence is the sianate painting constructed and understood through weight physical supported by consistent and of that a canon of makers. The pictures in the published homogeneous production album: of a standard are group were actually owned by Martin, who sold them composite rulings type ruled over the and all of its are to collectors;16 they were resold in later years to Eu- folios, margins characterized a uniform That ropean and American museums and other private col- by gold sprinkling. lectors. noted, how can one connect the separate items to determine whether To date we know of only one album that contains they once belonged to a single 34 DAVID J. ROXBURGH

Fig. 1. Diagram of upper and reverse side of reconstructed folio. (Drawing: Ahmet Ersoy) folio, and then establish their compositional arran- sprinkled margins, composite seam rulings inscribed gement on the page? where arrangements of paintings or calligraphies met In the process of cutting a single folio, the out- the margin, a grid of gold and colored rulings mark- lines of the paintings and drawings determined the ing the limits of individual items, illumination exe- cuts and not the calligraphies attached to the folio's cuted on individual items, illuminated ascriptions, reverse side. This choice was of course dictated by and colored grounds added to paintings. When the the higher price paid for painting as opposed to pattern of calligraphies and illumination on the re- calligraphy. By reconstructing the pattern of calli- verse sides are connected one finds that the folio's graphies and the illumination that accompanies them "a"side was composed of paintings and drawings as- the puzzle of their sixteenth-century arrangement can cribed to Bihzad, Haydar 'Ali, and 'Abd al-Samad, its be solved (see fig. 1). The six pieces that go together "b" side of a collection of calligraphies by Sultan to make up the reconstructed folio are described in Muhammad Khandan interspersed with Safavid- Appendix A. period illumination contemporary with the Bahram Six items - A Dromedaryand Its Keeper(figs. 2 and Mirza Album's production. 3), Horse and Groom(figs. 4 and 5), Portraitof the Poet ThreePieces from a SecondDisassembled Folio. Three Hatifi, Two Lynx and TwoAntelope (figs. 7 and 8), Por- works - a Portraitof Sultan Husayn Mirza (fig. 13) as- trait of ShaybakKhan (figs. 9 and 10), and Horse and cribed to Bihzad, a Portraitof a SeatedScribe (fig. 14) Groom(figs. 11 and 12), share features in common ascribed to Ibn Mu'adhdhin, and a Portrait of a Der- with the Bahram MirzaAlbum folios: colored and gold- vish from Baghdad (fig. 16) ascribed to Bihzad F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 35

Fig. 2. A dromedary and its keeper. Ascribed to Bihzad. Washington, D.C., Freer Gallery of Art, no. 37.22. (Photo: Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.)

Fig. 3. Fragment of calligraphy by Sultan Muhammad - dan. Washington, D.C., Freer Galleryof Art, no. 37.22. (Photo: Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.) 36 DAVID J. ROXBURGH

't ii I

...... - R-`. ~ - _m- ..*... Fig. 4. Horse and groom. Ascribed to Haydar 'Ali. Washing- ton, D.C., Freer Gallery of Art, no. 37.20. (Photo: Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washing- ton, D.C.)

Fig. 6. Fragment of illumination and calligraphy. Geneva, Collection Prince Sadruddin Aga Khan, no. Ir.M.192. (Photo: Collection Prince Sadruddin Aga Khan)

Fig. 7. Two lynx and two antelope. Ascribed to Bihzad after Fig. 5. Fragment of calligraphy. Washington, D.C., Freer Mawlana Wali. Geneva, Collection Prince Sadruddin Aga Gallery of Art, no. 37.20. (Photo: Courtesy of the Freer Khan, no. Ir.M.94. (Photo: Collection Prince Sadruddin Aga Gallery of Art, Smithsonian Institution, Washington, D.C.) Khan) F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 37

Fig. 8. Fragment of calligraphy signed by Sultan Muhammad Khandan. Geneva, Collection Prince Sadruddin Aga Khan, no. Ir.M.94. (Photo: Collection Prince Sadruddin Aga Khan)

Fig. 10. Fragment of calligraphy. New York, Metropolitan Museum of Art, bequest of Cora Timken Burnett, no. 57.51.29. (Photo: The Metropolitan Museum of Art, Cora Timken Burnett Collection of Persian Miniatures and Other Persian Art Objects, Bequest of Cora Timken Burnett, 1956 [57.51.29])

associated with the Bahram Mirza Album by illumi- nated ascriptions were once owned by Martin (see Ap- pendix B). Like the first six items, the drawing entitled Por- trait of Sultan Husayn Mirza has diagnostic features that connect it to the Bahram Mirza Album. However, it is mounted on a small album folio of stenciled paper with seam rulings and an illuminated caption under- neath, which is unlike any in the Bahram Mirza Al- bum. The drawing has been remounted on a page patched together from cannibalized bits of paper, il- lumination, rulings, and a heading all glued onto a white card that served as a support.19 Such a sham folio Fig. 9. Portrait of Shaybak Khan. Ascribed to Bihzad. New was not commonly practiced by European collectors York, Metropolitan Museum of Art, bequest of Cora Timken of Persianate most often they simply severed Burnett, no. 57.51.29. (Photo: The Metropolitan Museum of painting; the from its relevant text.20 The and Art, Cora Timken Burnett Collection of Persian Miniatures painting cracking of the was and Other Persian Art Objects, Bequest of Cora Timken flaking light-blue background pigment Burnett, 1956 [57.51.29]) caused by disassembly and supports the contention 38 DAVID J. ROXBURGH

Fig. 11. Horse and groom. Ascribed to 'Abd al-Samad. Los Angeles, Los Angeles County Museum of Art, no. TR 12220.20. (Photo: Los Angeles County Museum)

Fig. 12. Two calligraphies, one signed by Sultan Muhammad Khandan and Hashim al-Mudhahhib. Los Angeles, Los Angeles County Museum of Art, no. TR 12220.20. (Photo: Los Angeles County Museum) F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 39

9:"' ]" ' - ...... :::.".. " " .. !~i V -_ _'' ...... i-..-......

Fig. 14. Portrait of a seated scribe. Ascribed to Ibn Mu'adhdhin. Boston, Isabella Stewart Gardner Museum, no. P15e8. (Photo: Isabella Stewart Gardner Museum, Boston)

debate on the Portrait a Seated Scribe falls Fig. 13. Portrait of Sultan Husayn Mirza. Ascribed to Bihzad. Scholarly of Cambridge, Mass., Harvard University Art Museums, Arthur into two categories: the first focuses on attribution,23 M. Sackler Museum, Gift ofJohn Goelet, no. 1958.59. (Photo: the second on the reading of its illuminated ascrip- Courtesy of the Arthur M. Sackler Museum, Harvard tion. This study is not concerned with the first - after University Art Museums, Gift of John Goelet) all, in adding the ascription the album compiler's main concern was to identify its artist as the "son of a mu- that the drawing was peeled off an original Bahram ezzin," qualifying this by noting his fame in Europe- Mirza Album folio. an circles. The controversy around the name Ibn The painting of the Portrait of a Seated Scribe is iden- Mu'adhdhin, however, does merit a brief review. Re- tifiable as a Bahram Mirza Album folio fragment on sponding to the idea advanced by Sarre who conclu- the basis of its margins, seam rulings, and illumina- ded that the name stands for Gentile Bellini,24 Raby tion. It came from yet another folio acquired by Mar- argues that Ibn Mu'adhdhin is probably an Arabized tin, who later sold it to Isabella Stewart Gardner. A transliteration of the name [Costanzo] de Moysis. Raby letter written by Martin to Mrs. Gardner on 28 Sep- identifies Costanzo de Moysis and Costanzo da Ferra- tember 1907 thanks her for sending payment for it ra as one and the same.25 Raby's argument is more to the Credit Lyonnais.21 He apologizes for the delay convincing, and it also involves some phonetic acro- in writing, so the sale must have been made some time batics; however, like Sarre's it rests on the supposi- earlier. By 3 October 1907, Gardner was writing to tion that the ascription was added to the painting in Bernard Berenson of her "joy and rapture" at seeing an Ottoman setting some time after the late fifteenth the painting when it arrived in Boston.22 century when knowledge in the of such Eu- 40 DAVID J. ROXBURGH

Fig. 15. Fragment of calligraphy. Boston, Isabella Stewart Gardner Museum, no. P15e8. (Photo: Isabella Stewart Gardner Museum, Boston) ropean artists as Gentile Bellini and Costanzo da Fer- rara is more than adequately attested. What is important is the impact that the ascription's in a Safavid has on the ono- genesis setting previous Fig. 16. Portrait of a dervish from Baghdad. Ascribed to mastic interpretation. To date no single reference has Bihzad. Dublin, Chester Beatty Library, acc. no. 3094.5. been found to a specific European artist in any (Photo: Reproduced by kind permission of the Trustees of sixteenth-century history. Although Dust the Chester Beatty Library, Dublin) Muhammad mentions portraiture in Europe (and China) in his preface, he makes only one attempt to attach a name to a work in the album, that of the ustidin-i khata'i ("work by the Chinese masters"). The Portrait of a Seated Scribe. Could the European painting drawings are so clearly by Persianate artists working have come to the Safavid court from an Ottoman in a Chinese maniera that it is hard to take seriously. source26 with an attached note suggesting the pain- Given Dust Muhammad's powers of discernment, so ter's identity?27 Or might the attribution be an inven- clearly demonstrated in his preface and his selection tion, or have had humorous intent? and arrangement of materials in the Bahram Mirza It would appear that Dust Muhammad arranged Album, one wonders whether this ascription was meant some of the album's materials to structure jokes for to be a joke. The page might also have been inten- its recipient, Bahram Mirza.28 On one page, for in- ded as a trap for the visually uninitiated or to pro- stance, he ascribed a group of colored drawings show- voke discussion about the works' relationship to Chi- ing a series of figures and studies of oxen in a variety nese models. of positions and seen from different angles as kir-i Despite the curious nature and anomalous tech- F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 41 niques of the Portrait of a Dervishfrom Baghdad and Mudhahhib, and two other signed works by the illu- its publication in the earliest years of the study of Per- minators Mahmud al-Mudhahhib and Mawlana Yari sianate painting, it has not been subjected to sus- al-Mudhahhib (figs. 17 and 18). The page still in the tained attention, perhaps because it is thought to be Bellini Album in New York was assembled from se- either a fake or a much later work with a spurious veral specimens; both sides deal exclusively with attribution to Bihzad. Most critical for our purposes Sultan Muhammad Nur. Like others in the Bahram is to determine whether the illumination around the Mirza Album, composite pages were made from figure, which is characteristic of the Bahram Mirza signed and unsigned examples, the latter presumably Album, is original. Without direct access to Bihzad's attributed to calligraphers through Dust Muhammad's painting, any conclusions must be tentative, but the connoisseurship. The various signature protocols illumination in its palette, motifs, and scale is en- used by Sultan Muhammad Nur on the "a" and "b" tirely consistent with that of the Bahram MirzaAlbum, sides follow that of the corpus of signed works now a hallmark illumination style not found in any other in the Bahram Mirza Album. The page was probably sixteenth-century Safavid album. removed from the sequence of calligraphies in the These examples are other ex-Bahram MirzaAlbum Bahram Mirza Album where works by Sultan Muham- materials. Two paintings, Portraitof a Dervishfrom Bagh- mad Nur are concentrated (fols. 71b-83a). dad and Portraitof Sultan Husayn Mirza, were used as the main components for two newly made album Folios now bound in the Amir GhaybAlbum. Four folios pages,29 which also included original fragments from (see Appendix D) from the Bahram Mirza Album are other sources, rulings on scraps of paper, marbled now bound into the Amir Ghayb Beg Album (H. 2161) borders, and illuminated captions from manuscripts. compiled by Mir SayyidAhmad al-Husaynial-Mashhadi They were arranged in combination to produce vi- for Amir Ghayb Beg in 1564-65 (figs. 19 and 20).30 sually coherent album pages and built up on a white The Bahram Mirza folios, distinguishable by the illu- card support. The two sham album folios are similar mination decorating calligraphies, paper margins, and perhaps were intended to form a pair of facing and composite seam rulings, are smaller than those pages for an exhibition. in the Bahram Mirza Album; they measure 461 x 344 The Portraitof a SeatedScribe, like the six pieces from mm instead of 484 x 345 mm. the dismantled folio discussed above, was cut and Although the codicology of what now passes as the turned into a separate piece, but no further chan- Amir Ghayb Beg Album still awaits detailed treatment, ges were made to it. Since it does not fit into the it would appear to be a late-nineteenth-century re- remaining space of the reconstructed folio, it must combination of two separate albums plus some extra come from a second folio acquired by Martin that was folios added from others. Analysis of its Safavid- disassembled. It is possible that the Portrait of a Der- period lacquer binding shows that its envelope flap vishfrom Baghdad, Portraitof Sultan Husayn Mirza, and was widened sometime in the late nineteenth century, Portraitof a SeatedScribe all came from the same album and most probably in the reign of Abduilhamid II (r. folio. 1876-1909), and a new leather endcap was added and attached to the binding's upper and lower covers. In Two unalteredsingle folios. Two intact folios from the the process, the Safavid fore-edge flap was disassem- Bahram Mirza Album can be identified (see Appen- bled and its lacquered inner and outer surfaces re- dix C). Like the other materials, these also passed moved and reattached to a wider pasteboard strip. through Martin's hands into other collections. He Now some two centimeters wider, the binding could sold the first folio to the collector Goloubew; the se- hold about forty folios more than the original Safa- cond is among the folios now bound into the Metro- vid one. The current block of folios combines the politan's Bellini Album. original Amir Ghayb Beg Album with folios from the The Goloubew page now in the Museum of Fine Amir Husayn Beg Album (H. 2151 ),31 four folios from Arts, Boston, has a painting on one side of the folio the Bahram Mirza Album, and others from unidenti- and a calligraphic assemblage on the reverse, repre- fied albums (including H. 2156).32 The most plausi- senting specimens by several figures, one a collabo- ble explanation is that the folios now in the Amir ration between Sultan Muhammad Nur and Hashim Ghayb Beg Album were put together during a massive 42 DAVID J. ROXBURGH

RECONTEXTUALIZING THE FOLIOS

Given the complexity of the preceding discussion a summary of the findings may be useful. To the recon- structed folio of six pieces, three fragments, and the two folios acquired by Martin from the Bahram Mirza Album may be added the four folios now bound into the Amir Ghayb Beg Album. Martin played no role in excerpting folios for the latter. The entire group of ex-Bahram Mirza Album folios represents the work mainly of two calligraphers, Sultan Muhammad Nur and Sultan Muhammad Khandan. One page combined works by Sultan Muhammad Nur and several illumi- nators whose works were most likely done after Sul- tan Muhammad Nur's models. One folio entirely lacks signed works. Of the intact folios only one had a pain- ting, and it is so large that it filled the album page. To these we add the reconstructed folio, an assem- blage of calligraphies by Sultan Muhammad Khandan, on one side, and of works by Bihzad, Haydar 'Ali, and 'Abd al-Samad, on the other. This detective work helps reconstruct what the Bahram Mirza Album originally was as a collection. Although we cannot establish precisely where the eight folios came from, the problem is less serious than one might think. The Bahram Mirza Album offers a rare instance of a Safavid album that remains largely in- tact. Despite a later rebinding and the removal of Fig. 17. Prince with consort and attendants in a garden ("A" eight folios (and a few from its Safavid- side), Boston, Museum of Fine Arts, no. 14.545. (Photo: perhaps more) it, is discernible. with Income of Francis Bartlett Fund and Special Contribution. period sequence clearly Beginning Courtesy, Museum of Fine Arts, Boston) an ex-libris and a series of assemblages of paintings, drawings, and calligraphies serving as an avant-gout for the entire album, immediately followed by Dust Mu- hammad's preface, the main body of the album was arranged according to a relative chronology of the album-rebinding project in Abdulhamid II's reign. history of nasta'liq script. Its folios are assembled from It is possible that the four Bahram Mirza Album fo- several works by individual calligraphers or by sever- lios had already come loose from their parent album al calligraphers. The album's main body opens with and were later rebound into the Amir Ghayb Beg specimens by Mir 'Ali Tabrizi, Ja'far al-Baysunghuri Album, and slightly reduced in the process. and Azhar, calligraphers active between the late four- Folio 158a-b of the Amir Ghayb Beg Album curi- teenth century and mid fifteenth century, and its sub- ously lacks any signed specimens, a feature that sequent folios trace the history of nasta'liq ending with makes it without equal in its parent context, the Bah- calligraphers such as Rustam 'Ali who were contem- ram Mirza Album. Usually Dust Muhammad assem- porary to the album's production (1544-45). Places bled single pages from works by individual calligraph- in the album where the chronology is not followed ers, mounting signed and unsigned specimens side had their particular reasons: to provide comparison by side. Of the remaining three folios now in the Amir between new and old, for example, or to illustrate Ghayb Beg Album, fol. 157a-b is composed of works master-pupil relationships. by Sultan Muhammad Nur, and fols. 159a-b and 160a- Unlike the calligraphies, paintings and drawings in b of works by Sultan Muhammad Khandan. the album do not follow a chronology, although Dust F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 43

Fig. 18. Composite page of calligraphies signed by Sultan Muhammad Nur ("b" side), Boston, Museum of Fine Arts, no. 14.545. (Photo: Income of Francis Bartlett Fund and Special Contribution. Courtesy, Museum of Fine Arts, Boston) 44 DAVID J. ROXBURGH

Fig. 19. Composite page of calligraphies signed by Sultan Muhammad Nur. Istanbul, Topkapi Palace Museum, H. 2161, fol. 157b. (Photo: Topkapi Palace Museum) F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 45

Fig. 20. Composite page of calligraphies signed by Sultan Muhammad Khandan. Istanbul, Topkapi Palace Museum, H. 2161, fol. 159a. (Photo: Topkapi Palace Museum) 46 DAVID J. ROXBURGH

Muhammad lays one out in his preface. This lack of ted to Bihzad, Haydar 'Ali, and 'Abd al-Samad; an ear- chronological order did not result from misfoliation lier master, Mawlana Wali, was also present through at later periods, as we can deduce from a single folio Bihzad's use of his works as a model for the Two Lynx whose "a"side contains a work by the fourteenth-cen- and Two Antelope. The page arranged two portraits, the tury painter Ahmad Musa and "b"side a work by the Uzbek Shaybak Khan and the poet Hatifi, a fig- sixteenth-century painter Ustad Dust (H. 2154, fol. ure study, Dromedary and Its Keeper, and an animal 121), representing an interval of two hundred years. study, Two Lynx and Two Antelope all attributed to Bih- Similar disjunctures occur on folios that arrange pain- zad, alongside Haydar 'Ali's Horse and Groomand 'Abd tings or drawings on one side and calligraphies on the al-Samad's Horse and Groom. The page's composition- reverse.33 al arrangement can be explained according to dif- Following the chronology established by the se- ferent criteria, basically relationships of subject and quence of calligraphies it is possible to make approxi- type, pedagogy and hereditary relationship, as con- mate suggestions for the original placement of the ceived by Dust Muhammad. Pedagogical relationship excerpted folios. Given that the eight folios are either is shown by Bihzad's use of Mawlana Wali's work which exclusively calligraphic on either one or both sides he imitated (according to Dust Muhammad, Bihzad's (five are assembled from calligraphies on both sides), father was taught by Mawlana Wali), and hereditary and show multiple works by single calligraphers, we by the juxtaposition of Haydar 'Ali's Horse and Groom can propose that the folios belonged to specific se- with Bihzad's Dromedary and Its Keeper; Bihzad was quences in the Bahram MirzaAlbum. Thus, folios with Haydar 'Ali's uncle.35 These kinds of relationships are works by Sultan Muhammad Khandan can be located found at work elsewhere in the album.36 The self- between fols. 68a-70a, and those by Sultan Muham- referential nature of the art tradition is a subject often mad Nur between fols. 71b-83a. Only one folio represented in Dust Muhammad's arrangement of - in Istanbul lacks signatures, and it is not possible materials, either on single pages or at work across the to suggest where it may have come in the folio order. album's total frame. Of numerous examples one can Beyond the contribution to our knowledge of the mention Ustad Dust Muhammad's Rustam Catching Bahram Mirza Album's history is the impact that the Rakhsh (H. 2154, fol. 71a), inscribed "Design of Ustad excerpted folios have on the shape of the album col- Bihzad, work [i.e., coloring] by Ustad Dust Muham- lection when they are recontextualized. This is espe- mad." Dust Muhammad's painting was made from a cially true for the paintings and drawings. None of the drawing designed by Bihzad. calligraphic folios significantlychanges our understand- To the corpus of works by Bihzad we can add the of ing the Bahram Mirza Album, except that Sultan Portrait of Sultan Husayn Mirza and the Portrait of a Muhammad Khandan's works are augmented by four Dervish from Baghdad. Again, these may be interwoven pages (or two folios). He was a direct student of Maw- with materials still in the album. The portrait of Sul- lana Sultan 'Ali Mashhadi in nasta'liq, so it was impor- tan Husayn Mirza was important because this Timu- tant that his works be represented in the album col- rid ruler was arguably the leading patron of the arts lection. before the Safavids and together with Mir 'Ali Shir The Bahram Mirza Album as it stands today con- Nava'i, was a patron of Bihzad. Its presence was there- tains numerous paintings and drawings attributed to fore relevant to the album's broader biographical Bihzad. Dust Muhammad's statement in his preface conceptualization. The dervish portrait is an exam- to the album that Bihzad's work was "much in evi- ple of a type by Bihzad in the album; the Portrait of a dence" is no exaggeration;34 the album once con- QalandarDervish (H. 2154, fol. 83b) is another example. tained no less than eleven works ascribed to him (five A small unattributed line drawing mounted to fol. 1 lb of them have been removed). Bihzad's works illustrate of the Bahram Mirza Album is a model for Bihzad's his to ability perform in a range of art techniques, painted portrait. It offers yet another example of the his to Mirak relationships Naqqash (his father) and album's conceptualization as a painted genealogy of to Mawlana Wali (his father's master), his res- interrelated images and types, comparable to Bihzad's ponses to the Chinese painting tradition, and ultim- painting of a falcon after a Chinese model (both in- his on ately, impact the next generation of artists active cluded in the album, although separated by several under Safavid patronage. folios). Sequences of interrelated images in the album The reconstructed folio comprises works attribu- offered visual evidence of a range of imitative prac- F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 47 tices; the resulting collection produces a complex web As a whole, the album represents a Persianate visual of visual interrelationships across the album's total tradition, with selected images from foreign traditions frame. and Persianate works that respond to non-domestic Examples illustrative of fifteenth-century painting traditions. The Chinese tradition, represented by are rather scarce in the Bahram Mirza Album, despite numerous paintings on silk datable to the Ming pe- Dust Muhammad's lengthy discussion of Timurid riod, and its impact on Persianate visual culture are patrons like Baysunghur and his identification of spe- shown by a series of responses to subjects, methods, cific artists at his court. One exception is a painting and techniques. In a sense, the Ibn Mu'adhdhin Por- on silk, Ruler with Consortand Attendantsin a Garden. trait of a SeatedScribe illustrates a comparable dynamic, An ascription written in nasta'liq on the back side of albeit in reverse: here we have a European work in a the silk reads "Done by the Chinese masters," reflec- partly Persianate idiom. ting the idea that Timurid painting sometimes followed a Chinese maniera,an influence especially obvious in AFTERWORD the second component of the painting, which is a blossoming branch and a colorful bird scaled in dra- I began this essay by paraphrasing Martin's descrip- matic contrast to the group of seated figures below tion of how he had come to own a portion of the Bellini (the combination of the two main subject components Album. Three years earlier, in 1909, Martin remem- thus departing from the limitations imposed by the bered the sequence somewhat differently: exigencies of relative scale). It is one of a few works in the album that demonstrate a relationship to Chi- It is said to have been given by the father of the present Sultan to one of his whose sons divided it as nese subject matter: others show relationships to , Orientals do. into the hands of Chinese models and graphic techniques, and many always My part passed Chinese are also included in the album. a Turkish book lover, from whom I bought it, and the originals other are said to have been sold to The last Portrait a Seated is the parts previously example, of Scribe, it was one of the most one attributed Dust Muhammad to Ibn Mu'adhdhin. Europe. Originally certaintly by splendid albums in the East....38 It is the second example of a European work (kar-i frank) in the album; the first is a Portrait of a Young Here he adds an extra party - the Turkish biblio- Man, probably of Florentine origin (ca. 1540).37These phile - to the sequence of exchange, and claims that examples provide some concrete evidence for fami- still other parts of the album had found their way onto liarity with an art tradition that Dust Muhammad re- the European market. Of equal interest in Martin's fers to only in passing in his preface. Of particular recollection, however, is his perception that "Orien- interest is the comparison between portraits by Ibn tals" customarily divide up single works. Mu'adhdhin and by the unidentified Florentine ar- Martin's idea that albums were routinely dismem- tist. Employing the visual tricks and devices of Renais- bered is not at such a far remove from a view ex- sance painting, Ibn Mu'adhdhin has his Ottoman pressed by Stchoukine. His comments on Islamic scribe sit in a receding space and delicately suggests albums may be seen to grow out of a concept of dis- the subject's volumetric head and hands with a wash order, although in fact the disorder was a feature of and stippling technique that adds to the sense of the album from its very inception. In 1935 Stchou- ephemerality. But his treatment of the subject also kine writes, "Like all collections of this genre," the shows a set of visual choices that may have been deter- albums were "composed of drawings, paintings, and mined by a Persianate-Ottoman tradition. This is es- pages of calligraphy reunited without any sense of pecially true of the treatment of the figure's patterned method [esprit de systeme]."39The folios "followed on cloak, which is flat by contrast to the more volumetric from one another in a picturesque disorder, to the and heavily modeled red sleeves. The anonymous taste of the Oriental collector's fantasy."40 Stchou- Florentine work, however, revels in the play of light kine's conclusion may have been a little premature; after the over the sitter's face, making a dense web of light and all, legwork still had not been done that would the shadows. Cropping in the process of re-formating determine history of individual albums and establish during album assembly may have changed its original changes made to them through time. In Stchoukine's remarks have spatial conception, and thus the sitter's relationship effect, may preempted that to the viewer. method of analysis. In his article Stchoukine lumps 48 DAVID J. ROXBURGH albums made in different periods together and places of my friends asked me, 'How long will you stay there?' them in a single category - regardless of their I answered, 'Till I get a Bellini.'42 different patterns of arranging materials and various aesthetics, all were judged to have been assembled Harvard University without concern for order. This absence was sig- Cambridge, Mass. naled by the random arrangement of the mis-en-page and a procession of successive folios that did not con- form to expected patterns, sequences, and categories. APPENDIX: MATERIALSFROM THE BAHRAM Difficult to pin down, however, are those conceptual MIRZA ALBUM categories of order that would mark the "non-pic- turesque" collection that Stchoukine had in mind. A. A Dismantled Folio Obviously, his definition was formed by a process of comparison; the album is defined through opposi- 1. "A" side: A Dromedary and Its Keeper, ascribed to tion to some hidden form, to a collecting practice that Bihzad, opaque pigment and gold on paper, 115 x 145 was culture-bound. mm (fig. 2).4 One can only wonder whether this idea of disor- Two caption boxes contain a gold nasta'liq ascrip- der had provided an opening for Martin some thirty tion set within a cloud that floats over a lapis-lazuli years earlier. If he did believe that the practice of ground with polychrome florals: splitting up albums had a long history - as he seems to have donejudging by his comment that the "Orien- tal" collector divided up albums - perhaps this gave him a rationale, in his own mind, for continuing the "Depicted by Bihzad. Outstanding work of Ustad practice. Of course, it was only one form of response; Bihzad." others included the reworking of albums to bring A is inscribed the outer them into line with a later album aesthetic, or their composite ruling along edge of the simpler refurbishment, repair, or rebinding. Although painting. "B" side: of a Sul- we may never know how Martin acquired the Bahram Fragment calligraphy signed by tan Muhammad an Mirza Album materials, it would seem clear that his Khandan, illuminated rectangle with a red and the of an illumina- statement that they all originally came from the Bellini ground, fragment ted All are inscribed with Album is pure invention. Some hint of Martin's activ- heading (fig. 3). lapis-lazu- li with The a ities in Istanbul is provided in his letter thanking rulings gold guard stripes. calligraphy, Persian is written in on Mrs. Gardner for her payment for the Portraitof a Seated poem, pink nasta'liq ivory Scribe: paper, inscribed with rulings and framed by a border of polychrome florals and scrolling palmettes over a green ground. The signature reads: Swedish diplomatic interests in leave time for other things and perhaps I could serve American mu- LAL seums by signaling what there is of interest (?) as far -Ajil ^ J J1 e ,ILI. jJ as antique or oriental art are concerned. My friend Zorn knows that my eyes are pretty well tested, but in gen- "The servant Sultan Muhammad Khandan, outlined by eral, I like objects that will not be sorted out and dis- Baba al-Mudhahhib [the gilder]." cussed for another twenty years.41 A composite seam ruling is also visible on the "b" side. Further indication of Martin's activities in Istanbul beyond his role as attache is provided by an anecdote 2. "A" side: Horse and Groom, ascribed to Haydar 'Ali, he included in one of his articles: opaque pigment and gold on paper, 113 x 110 mm (fig. 4).44 Before I conclude this short note, I cannot omit to tell A caption box contains a gold nasta'liq ascription a little story about the picture. When I was appointed set within a cloud over a lapis-lazuli ground with attache at the Swedish Legation at Constantinople, one polychrome florals: F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 49

ie. j^ a. L..I-.?1 "B" side: Fragmentary calligraphy, a composite seam ruling indicating that this piece originally was placed "Workof Ustad 'All." Haydar at the lower left of an album folio, and a pink and gold-sprinkled paper margin (fig. 8). "B" side: written in white Fragmentary calligraphy The calligraphy is written in black nasta'liq, its two on a and decora- nasta'liq pink gold-sprinkled paper couplets separated from the calligrapher's signature ted with a border of florals on a red and a ground, by a band of illumination. illuminated box 5). A fragmentary (fig. composite Signature: ruling is inscribed along the outer edge of the calli- 1LI.. ll j, ' Jl lJ : graphy. The album page is still attached to a fragmen- . ;t,1l $1 -J-.I. , and t - tary pink gold-sprinkled margin. r, j F iJjL 1 3L?^.j jji J s

3. "A" side: Portrait of the Poet Hatifi, ascribed to Bihzad, opaque pigment and gold on paper, 94 x 60 mm.45 "Written by the poor miserable servant for the mercy - - The portrait is placed between two caption boxes of the King, the Beneficent Sultan Muham- mad Khandan in the which contain a gold nasta'liq ascription set within a month of blessed Ramadan in the of the hijra 907 [10 March-8 cloud that floats over a gold ground with a spare green year April 1502]." stem. The lower caption is flanked by two squares 5. "A" side: which contain polychrome florals attached to a gold Portrait of Shaybak Khan, ascribed to Bih- stalk over a lapis-lazuli ground, each box inscribed zad, opaque pigment and gold on paper, 138 x 115 mm x with lapis-lazuli rulings with gold guard stripes. An [max. dim. 146 125 mm] (fig. 9).48 ivory, gold-sprinkled paper border surrounds the Two illuminated panels are placed at the upper painting. The ascription reads: corners of the sheet, flanking the figure's head, exe- cuted in the same palette and with motifs identical to previous examples. The painting is bordered on its "Depiction of Mawlana'Abd Allah Hatifi, done by Ustad upper and outer edges by traces of a composite seam Bihzad." ruling (also the remnants of a pink and gold-sprin- kled margin), and it is framed by a simpler ruling of The seated is a of 'Abd figure nephew al-RahmanJami, lapis lazuli with gold guard stripes. A green background and a at the court of the poet late-fifteenth-century was painted around Shaybak Khan leaving a thin con- Timurid ruler Sultan (r. Husayn 1470-1506). tour of unpainted paper between figure and ground. "B" side: illumination the Fragmentary framing top The gold nasta'liq ascription reads: portion of a calligraphy (fig. 6).46 The illuminated border is of a floral scroll - stalks, composed gold (3 jLaJII L&j j,L leaves and palmettes with yellow, red, and pink flow- ers - set over and black green grounds. A large fin- "Depiction of Shaybak Khan, [by] the servant Bihzad." ial is placed above the calligraphy, executed in gold and opaque pigments and containing a motif com- The Shaybak Khan (i.e., Muhammad Khan Shaybani) posed of palmettes. The calligraphy begins with the depicted is the Uzbek ruler (r. 1500-10). formula li-katibihi, "composed by." "B" side: Three couplets of Persian poetry written in white nasta'liq and outlined with black ink over light- 4. "A" side: Two and Two ascribed to Lynx Antelope, pink, gold-sprinkled paper decorated with a triangle Bihzad after Mawlana ink on 67 x 120 Wali, paper, of illumination. Internal rulings are executed in gold mm 7).47 (fig. and blue (fig. 10). A caption at the top of the callig- A box contains a caption gold nasta'liq ascription raphy indicates that it was composed by Mawlana Nur set within a cloud that floats over a lapis-lazuli ground al-Din 'Abd al-Rahman al-Jami. The calligraphy is with polychrome florals: flanked by a band of red illumination, a composite seam and a and 1 ^.jI jj, Jj bVy. j 5 JI ruling, pink gold-sprinkled margin. from the work of Mawlana "Copied Wall, executed by 6. "A" side: Horse and Groom, ascribed to 'Abd al-Sa- the servant Bihzad." mad and fragment of cloud painting, opaque pigment 50 DAVID J. ROXBURGH and gold on dark ivory paper, 124 x 141 mm (fig. "The work of his excellence Ustad Bihzad, depiction of Sultan Mirza." 11).49 The painting bears an ascription written in gold Husayn nasta'liq directly on the paper support: The figure depicted is the Timurid ruler Sultan Husayn. The drawing is set within a stenciled margin "Done by'Abd al-Samad." of light-blue paper, white pigment sprayed onto the "Done 'Abd al-Samad." by page to create the ground color. The design reserved in light blue comprises split palmettes and flowers Fragmentary rulings in lapis lazuli and gold separate outlined in gold pigment. Along the lower edge of the two items, the 'Abd al-Samad and the painting the framed is a of marbled and of a cloud with white drawing strip paper fragment painting (blue sky an illuminated box taken from a ma- A thin of is caption poetic clouds). strip pink gold-sprinkled paper Seam around the the remains of the album and the seam rul- nuscript. rulings running drawing margin and marbled are of small inset from is intact. The paper strip composed many ing separating margin pain- of was at the lower of the album pieces rulings glued together. ting placed right page. "B" side: White card. "B" side: Two calligraphies decorated with illumi- nation (fig. 12). 2. "A" side: Portrait of a Seated Scribe, ascribed to Ibn Top: Signed by Sultan Muhammad Khandan and Mu'adhdhin, and on white Hashim al-Mudhahhib, n. d., n. p. Two couplets of opaque pigment gold 182 x 140 mm 14).51 Persian poetry written in white nasta'liq on light ivory paper, (fig. The bears an illuminated writ- paper, decorated with illuminated triangles (gold and painting ascription ten in nasta'liq on a surrounded lapis-lazuli grounds with polychrome florals). gold pale gray paper a red decorated with a scroll and Signature: by ground gold polychrome florals. The ascription reads: LI I la [] ajJI J<, ,1 -:^ iu Jl

::_1 S;^ _j?-e obL-J jl<15 ^^, ,,? J^ "The servant Sultan Muhammad Khandan, outlined by the servant [...] Hashim al-Mudhahhib." "Done by Ibn Mu'adhdhin [i.e., Muezzin] who is among the famous European masters." Bottom: Unsigned, n. d., n. p. Five couplets of Per- sian poetry written in black nasta'liq on ivory paper, Fragmentary seam rulings appear on the righthand decorated with illuminated blocks and triangles (la- side and along the lower edge of the painting. The pis-lazuli, gold and black grounds with polychrome remaining rulings in orange and blue are inscribed florals). around separate items; such rulings were executed on album to mark the boundaries of B. Three Pieces from a Second Disassembled Folio composite pages separate works. The ascription appears to have been executed on a separate sheet of paper that was laid 1. "A" side: Portrait of Sultan Husayn Mirza, ascribed over the painting. This is unusual for the Bahram Mirza to Bihzad, opaque pigment, black and red inks and Album and suggests a later addition, that is, after the gold on paper, 180 x 109 mm (fig. 13).50 of the A light-blue opaque pigment, now cracked and Safavid-period compilation. Microscopic analysis around the attribution box, however, show no flaked, was applied to the ground of the drawing. Two rulings and are consistent in their illuminated caption boxes at the upper left and right ruptures, they appearance to others on the to the Safavid of the sheet each contains a gold nasta'liq ascription page dating period. the execution of the attribution on a placed within clouds of reserved paper surrounded Perhaps piece of from the actual work was by a black ground decorated with a spare gold stalk paper separate required or - or lack of - and polychrome florals. The boxes are inscribed with by poor damaged paper space in the desired area. The was folded on lapis-lazuli rulings with gold guard stripes. The ascrip- painting tion reads: its horizontal axis before its incorporation into the album. I ..(- .*a ] , 01^, al.;. J.i, J.1,,I Like numerous paintings produced or brought into F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 51 a Persianate milieu, this example has a closely rela- den, opaque pigment on silk, inscribed with compos- ted example.52 ite ruling and framed within ivory and gold-sprinkled "B"side: Fragment of calligraphy, Persian text (per- border, 314 x 232 mm (painting), 444 x 296 mm (folio) haps historical) written in black nasta'liq on ivory (fig. 17).57 paper, internal rulings inscribed in black and gold, A note inscribed on the reverse surface of the silk decorated with squares and blocks of Safavid-period has bled through to the upper surface. It is written illumination (polychrome florals and gold stalks on in black nasta'liq and translates, "Done by the Chi- lapis-lazuli or black grounds) (fig. 15). nese masters" ('amal-i ustadan-i khata'i). Fragmentary seam rulings run along the calligra- "B"side: Composite page of nasta'liq calligraphies phy's lefthand side with a full ruling along the lower signed by Sultan Muhammad Nur, dark and light blue, edge. A fragmentary margin runs along the lower white, gold, black, pink, red, and green inks and edge (pale pink and gold-sprinkled paper). opaque pigments on light blue, green, white and pink- ish-orange papers, internal rulings in gold and ink, 3. "A"side: Portraitof a Dervishfrom Baghdad, ascribed decorated with triangles and squares of illumination. to Bihzad, opaque pigment, gold and wash on ivory The ensemble of seven calligraphies is framed by a paper, 225 x 140 mm (maximum dimensions of pain- composite ruling and a pale yellow and gold-sprin- ting including rulings) (fig. 16).53 kled margin, 352 x 219 mm (calligraphic ensemble) The seated figure is executed using a delicate stip- (fig. 18). pling technique with layers of wash. Illuminated cor- Top right: Signature ner pieces, executed in lapis-lazuli and gold grounds, . _ polychrome florals and gold scrolls at the upper left j. o LLL,JI .J 4L - and right of the seated figure, suggest an architectu- ral setting. An illumination at the very top shows a "Written by the servant Sultan Muhammad Nur." cloud of reserved paper containing a white nasta'liq Center right: Signature ascription. Lapis lazuli applied around the cloud is broken florals and stalks. Two by polychrome gold r1 . elements in gold flank the main rectangle formed by .i.:.~,1l, ,, I ., JLL j._JI 4_l*-_t the ascription. The ascription reads: "Written by the servant Sultan Muhammad Nur, illumi- nated by Hashim al-Mudhahhib."

Bottom right: Signature "Portrait of a dervish from Baghdad, done by Hadrat-i Ustad Bihzad." 4ji _c _Ailil Aj. _ ,itl j^JI 4&- The is framed a thin border of and painting by green "Written the sinful servant Mahmud al-Mudhahhib, and enclosed a by gold-sprinkled paper by composite may his sins be forgiven." seam ruling. Along the lower edge of the dervish study are a series of fragmentary illuminated elements. The Top center: Signature ensemble is framed by a stenciled margin. The mar- gin is a sheet of ivory paper, fawn and grayish-blue pigments sprayed onto it to make a pattern of lotus i;E 41 leaves, split palmettes, and stalks. The painting has a close copy in a private collec- "Written by the poor, weak and sinful servant Sultan tion.54 A line drawing of it also exists among a col- Muhammad Nur, may God forgive him." lage of drawings still in the Bahram Mirza Album.55 "B"side: White card.56 Bottom center: Opening formula

C.Two Unaltered Single Folios *_ill 1 SL (l;s bjj^

1. "A" side: Prince with Consort and Attendants in a Gar- "Outlined by Mawlana Yari al-Mudhahhib." 52 DAVID J. ROXBURGH

Top left: Opening formula j J,f ,LIL. .?,JI_1 '1It

&l "Writtenby the Servant Sultan Muhammad Nur." 4j- 4rJ-; Le ->,-`

"Composed by Amir Shahi, may God animate his soul." Center left: Signature

Signature: Jj. a _'. O I.J3 I

"The one Sultan Muhammad b. ;1I!JI.) <^J _ _ j ju,,L. jjW1 ^-..^.I _ 4 poor Nur."

"Writtenby the poor forlorn servant Sultan Muhammad Center right, bottom left and right: Unsigned. Nur in the city of ." D. Folios Now in the Amir Ghayb Beg Album Bottom left: Unsigned. Album H. 2161, fol. 157a: Composite page of nasta'liq 2. "A" side: Composite page of nasta'liq calligraphies calligraphies signed by Sultan Muhammad Nur, black signed by Sultan Muhammad Nur, black ink and ink on brown, ivory and white papers, decorated with opaque pigments on ivory, yellow and pale pink pa- illumination, inscribed with rulings and framed by a pers, internal rulings in gold and ink, decorated with pink and gold-sprinkled margin. illumination.58 Internal rulings in blue and orange Left: Signature make a grid and the ensemble of four calligraphies is framed a by composite seam ruling and a pale pink, j- j 0L1 gold-sprinkled margin, 342 x 215 mm (calligraphic en- semble); 448 x 313 mm (folio dimensions). "Sultan Muhammad Nur." Top left: Signature Right: Signature

"The poor, weak, and sinful Sultan Muhammadal-Katib." "Mashq[specimen] of Sultan Muhammad Nur." Upper right: Signature Upper right: Unsigned fragment. . j >.S>> ..LL JI Album H. 2161, fol. 157b (fig. 19): Composite page "The servant Sultan Muhammad Nur." of nasta'liq calligraphies signed by Sultan Muhammad Nur, black, gold and opaque pigments on pink and Center left and bottom: Unsigned. green papers, decorated with illumination, inscribed with rulings and framed by an ivory and gold-sprin- "B" side: Composite page of nasta'liq calligraphies kled margin. The calligraphies at the upper left and signed by Sultan Muhammad Nur, black ink and right are framed by stenciled borders (green, pink, opaque pigments on white, dark and light ivory pa- brown and blue over white paper) whose designs are pers, internal rulings in gold, blue, orange and black, symmetrical. decorated with illuminated panels, blocks and tri- Upper left and right: Signature angles with lapis-lazuli, green, and black grounds. The ensemble of five calligraphies is framed by a compo- ..,JlJI . 1.. L~ - .1.jJI ..-i: U(IJ( 1 4L-. site ruling and an ivory and gold-sprinkled margin, 326 x 201 mm (calligraphic ensemble). Two specimens are signed. "Written by the poor, weak and sinful servant Sultan Top: Signature Muhammad al-Katib." F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 53

Center: Signature "Written by the poor servant Sultan Muhammad Khandan."

-10il jJbj _ e,Lj L. , iJI JIJl t.. Upper right: Signature "Written by the poor servant Sultan Muhammad Nur, _ IUe,,L.JI may God forgive him." 31JLa. J" "The servant Sultan Muhammad Khandan." A heading identifies Amir Khusraw as the poet. Bottom: Signature Lower left: Signature

la1 . J_ OL . ..;U1.iJI "Written by the servant Sultan Muhammad b. Nir Allah." "The poor one Sultan Muhammad Khandan." Album H. 2161, fol. 158a: of Composite page nasta'liq Lower right: Signature: calligraphies (all unsigned), black and white inks on pink, blue and gold papers, decorated with illumina- ,1 J-. ..;- O L . J-J II tion, inscribed with rulings and framed by a pink and gold-sprinkled margin. Each calligraphy is framed by "The poor one Sultan Muhammad Khandan." its own border; the one at the upper left by an ivory and gold-sprinkled one; that at the upper right by a Album H. 2161, fol. 159b: Composite page of nasta'liq stenciled border whose design comprises a floral scroll calligraphies signed by Sultan Muhammad Khandan, in reserved white paper and medallions in green and black ink on ivory and white papers, decorated with blue over an orange ground; and the one along the illumination, inscribed with rulings and framed by a bottom by a white paper decorated with a scrolling dark green and gold-sprinkled margin. Upper right pattern of lapis-lazuli palmettes and florals. and lower right have light blue and pale pink gold- sprinkled borders respectively. Left: Album H. 2161, fol. 158b: Composite page of nasta'liq Unsigned. calligraphies (all unsigned), black ink on white and Upper right: Signature: yellow papers, decorated with illumination, inscribed .. _ I... with rulings and framed by a pink and gold-sprinkled IL O rJI margin. The three calligraphies have stenciled bor- "The poor Sultan Muhammad Khandan." ders, each one a variation on a theme; scrolling pal- mettes and florals reserved in white are combined with Lower right: Signature medallions colored green, red, purple, blue, orange, and brown. L . -' O.L. . -. .I -L*.I Album H. fol. 159a 2161, (fig. 20): Composite page "Written by Sultan Muhammad Khandan." of nasta'liq calligraphies signed by Sultan Muhammad Khandan, black ink on ivory, white and pink papers, Album H. 2161, fol. 160a: Composite page of nasta'liq decorated with illumination, inscribed with rulings and calligraphies signed by Sultan Muhammad Khandan, framed by an ivory and gold-sprinkled margin. Calli- black ink on white, ivory and purple papers, decora- graphies at the upper left and right have separate ted with illumination, inscribed with rulings and borders: upper left a white paper decorated with gold framed by a pink and gold-sprinkled margin. Bottom lotuses; upper right a fawn and gold-sprinkled paper. left has a white and gold-sprinkled border. Upper left: Signature Top left: Unsigned. Upper left: Unsigned. I - i, ,>. ,.,I L I-... I __J 14o _I. Bottom left: Signature 54 DAVID J. ROXBURGH

Jt 1 *t * of contents and see j .^^ Jj,L u LLL- ^;11^* hlfJI provenance, Sotheby's Catalogue of Highly Important Oriental Manuscripts and Miniatures, Wednesday 6th December, 1967, pp. 74-76. Aimee Froom is currently making a study of the album, developing a at the annual "Written by the poor servant Sultan Muhammad Khandan, paper presented conference, Providence, Rhode Island, 1996. It was this may his sins be forgiven and his faults concealed." during pre- sentation that I recognized the Bahram Mirza album folio the materials she showed from the Bellini Album. center: among Top Unsigned. 5. Martin, Miniature Painting, p. 59. Scanderbeg [Iskender Center: Unsigned. Beg], born Gjergj Kastrioti (1405-68), was an Albanian Top right: Unsigned. A heading indicates that Khwa- sent to the Ottoman court as a hostage and raised in ja Kamal al-Khujandi composed the poem. the palace as an ic oglan, who later fought for Albanian For see article in Bottom right: Signature independence. biography, Encyclopaedia of , 2nd ed., s.v., "Iskender Beg" (H. Inalclk). Martin gives no reason for identifying the figure as Iskender d 4i 1 oJlai. 1J .JI 0L Beg, but Arthur Hind deals with the identification in some detail; see Arthur M. Hind, Early Italian Engraving: "The servant Sultan Muhammad Khandan, may his faults A Critical Catalogue with Complete Reproduction of All the be concealed." Prints Described, 4 vols. (London: B. Quaritch Ltd., 1938- 1948), 1: 195. 6. Recent the the title "El Gran Album H. 2161, fol. 160b: Composite page of scholarship gives etching nasta'liq Turco," on the lower and attributes it to Sultan Muhammad engraved corner, calligraphies signed by Khandan, the Master of the Vienna Passion after Pollaiuolo's black ink on ivory and white papers, decorated with design, ca. 1460 (album H 2153, fol. 144a). For references, illumination, inscribed with rulings and framed by a see Julian Raby, " II and the Fatih Album," in pink and gold-sprinkled margin. The calligraphy to Colloquies on Art and Archaeologyin Asia 10 (1985): 42- 49; 46, and n. 40. For an illustration of fol. 144a in al- the left of the page is framed a blue and by gold-sprin- bum H see Tahsin Fatih Sultan Mehmet II: 'Ye kled border. 2153, 6z, Ait Eserler, Tiurk Tarih Kurumu Yaylnlarlndan 11 series, Left: Signature no. 3 (Ankara: Turk Tarih Kurumu Basimevi, 1953), pl. 63, fig. 82. The Berlin copy is in the library at Unter der Linden. References to both etchings may be found in Hind, Early Italian Engraving, 1: 195; and 3: pl. 268. 7. Miniature "The servant Sultan Muhammad Khandan." Martin, Painting, p. 59, and pl. 85. Martin published the two portraits together in a separate article where he also notes their origin in the Bellini Album. F.R. Martin, "Two Top right: Unsigned. Portraits by Behzad, The Greatest Painter of Persia," Center right: Signature Burlington Magazine 15 (April-September, 1909): 4-8; 7. 8. Martin states that it was assembled ca. 1600 "probably for Sultan Ahmad." He gives no further explanation for the dating, but perhaps considered the multicolored striped border a diagnostic feature of albums made during Sultan "Written by the servant Sultan Muhammad Khandan." Ahmad's reign (Martin, Miniature Painting, p. 59). 9. Scholars generally take Martin at his word. In her discussion Bottom right: Unsigned. It probably comes from the of the Bellini Portraitof a SeatedScribe, Atll reiterated Martin's same original source as the calligraphy at the top right. explanation but added that the portion of the Bellini Al- bum acquired by him amounted to some seventy images. NOTES See Esin Atil, " Painting under Sultan Mehmed II," Ars Orientalis 9 (1973): 102-20; 112. 10. One example of an album assembled for Sultan Ahmed I 1. F.R. Martin, The Miniature Painting and Painters of Persia, In- is TSK B. 408. The album's folios are characterized by dia, and Turkeyfrom the 8th to the 18th Century (London: polychrome striped borders that separate margin from inset. Holland Press, 1912; and London: repr., Trowbridge 11. Martin, Miniature Painting, p. 60. Redwood Press Ltd., 1968). 12. Ibid., p. 33. He notes that this album was lent to the Munich 2. Ibid., 60-61, 92. pp. exhibition of 1910. Album H 2152 is described in the 3. Ibid., p. 59. small catalogue published to accompany the exhibition, 4. Ibid. The album is now owned by the Metropolitan Mu- Ausstellung Miinchen 1910: Ausstellung von Meisterwerken seum of Art, New York, no. 67.266.7.1. The portion of muhammedanischerKunst: Musikfeste Muster-Ausstellung von the Bellini Album once owned by Martin was sold to the Musik-Instrumenten. Amtlicher Katalog (Munich: Rudolf Metropolitan by Sotheby and Co. in 1967. For description Mosse, 1910), cat. no. 649. In his entry on the album F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 55

Ernst Kuhnel attributes it to , thirteenth to had all passed from Martin to Armenag Sakisian by 1929 seventeenth centuries, and notes its large format works (by this time they were in separate pieces). Lowry and in what he calls the Mongol-Persian school of west Nemazee also commented on this "intimate circle" of Turkestan. For a description of Album H. 2152's contents collectors (ibid., p. 43). and its production, see David J. Roxburgh, "'Our Works 17. Bahram Mirza Album, Istanbul, TSK H. 2154. For a Point to Us': Album Making, Collecting, and Art (1427- discussion of the Bahram Mirza Album and a catalogue 1565) under the Timurids and Safavids," Ph.D. diss., (including discussion of its codicology and construction), University of Pennsylvania, 1996, vol. 1, chap. 2; vol. 2, see Roxburgh, "Our Works Point to Us," vol. 1, chap. 4, and Catalogue: Album H. 2154. vol. 2, Catalogue: Album H. 2154. 13. For more on Martin's buying sprees in Turkey, see Glenn 18. With the exception of Anthony Welch and S.C. Welch (Arts D. Lowry with Susan Nemazee, A Jeweler'sEye: Islamic Arts of of the Islamic Book, p. 67), scholars have regarded the theBook from the VeverCollection (Washington, D.C., and Seattle illuminated captions as inconclusive evidence of an origin and London: The Smithsonian Institution, Arthur M. Sackler in the Bahram Mirza Album, and have been content to Gallery, and University of Washington Press, 1988), p. 31. ascribe the paintings to as yet unidentified Safavid albums. In an essay on private collectors, Stuart Cary Welch, in Binyon attributed the illuminated panels to mid-sixteenth- discussing Martin, points to the lack of regulation of the century Bukhara (Laurence Binyon, J.V.S. Wilkinson, and antiquities trade during the early years of this century Basil Gray, Persian Miniature Painting [London: Oxford and concludes as an aside: "If they had [regulated it], University Press, 1933], p. 100, cat. no. 89; here the au- Mr. Martin and many other amateurs of the arts would thors also referred to the Portrait of Sultan Husayn Mirza). have languished in highly atmospheric jails!" Stuart Cary 19. Persis Berlekamp in the Department of Fine Arts, Harvard Welch, "Private Collectors and Islamic Arts of the Book," University, examined the drawing and its folio for a graduate in Treasures of Islam, ed. Toby Falk (Secaucus, NJ.: seminar (spring 1997). Microscopic analysis confirmed the Wellfleet Press, 1985), pp. 25-31; 26. B.W. Robinson theory that the drawing had been recontextualized, probably similarly remarks: "How thankful we should be, then, to before its sale or exhibition, to make it appear more com- the Ottoman who stored so many priceless vol- plete as an object. As an aside, the caption placed beneath umes for so many centuries in the peace and security of the drawing is identical to those accompanying Humay and the Topkapi Library - that is, till enterprising Western in a Garden,a Timurid painting now in the Musee 'art-lovers' gained access to it with their penknives and des Arts Decoratifs, Paris. The presence of these illuminations portfolios in the heady days of the early 1900s" (B.W. calls into question the physical context of the painting; for Robinson, Fifteenth-CenturyPersian Painting. Problems and color illustration, see Thomas W. Lentz and Glenn D. Lowry, Issues, Hagop Kevorkian Series on Near Eastern Art and and the Princely Vision: Persian Art and Culture in the Civilization [New York and London: New York University Fifteenth Century (Los Angeles and Washington, D.C.: Los Press, 1991], p. 79). The possibility still remains that Martin Angeles County Museum of Art and the Smithsonian Insti- purchased some of the manuscripts, paintings, and al- tution, 1989), p. 117, and cat. no. 34. bum materials. If he did, it would be comparable to the 20. For the dissociation of text illustration and relevant text, case of the Prussian charg6 d'affaires Heinrich Friedrich see Lowry and Nemazee, Jeweler'sEye, pp. 42-43. von Diez, who purchased materials from different albums 21. Boston, Isabella Stewart Gardner Museum, Object File Notes in the palace library between 1786 and 1790 and had for no. P15e8, Correspondence. them assembled into albums in Istanbul and in Berlin 22. Ibid. (see David J. Roxburgh, "Heinrich Friedrich von Diez 23. A comprehensive discussion of issues related to attribution and His Eponymous Albums: Mss. Diez A. Fols. 70-74," and a complete bibliography will appear in a catalogue Muqarnas 12 [1995]: 112-36). raisonne of the Italian paintings and drawings before 1800 14. Gaston Migeon, Manuel d'art musulman, II. Les arts plastiques in the Isabella Stewart Gardner Museum (ca. 1998), prepared et industriels (Paris: Alphonse Picard et Fils, 1907), p. 42, fig. by Hilliard T. Goldfarb and L. Kanter. I would like to thank 36. Hilliard Goldfarb, chief curator of collections, for sharing 15. Ibid. Like album materials published by Migeon from the aspects of his research with me, and Patrick T. McMahon, Topkapi Palace Museum, the Portraitof a Dervishfrom Baghdad the registrar, for allowing my examination of the painting. bears a photographer's seal (the initials A and D in a small 24. Friedrich Sarre, "Notiz: Eine Miniatur Gentile Bellinis," oval). These materials may still be found in the Topkapi in Jahrbuchder Kiniglich PreuszischenKunstsammlungen 28 (1907): albums H. 2152 and H. 2153. 51-52. 16. Lowry and Nemazee consider Martin's production of the 25. Julian Raby, "El Gran Turco: as a Miniature Painting text and the exhibition of his collection Patron of the Arts of Christendom," Ph.D. thesis, Faculty as an elaborate sales pitch, as a way to promote objects owned of Oriental Studies, Oxford, 1980, 3 vols., 1: 63-64. by him (Lowry and Nemazee, Jeweler'sEye, p. 31). Plotting 26. The Bahram Mirza Album contains an additional work from the movement of single items from private collection to an Ottoman courtly setting, a drawing of a dragon ascribed private collection in the 1910's and 1920's turns up a to Shah Quli (fol. 2a). It bears the artist's seal and circumscribed group of collectors. For example, Bihzad's was probably among those materials sent by the Ottomans Portrait of ShaybakKhan, A Dromedaryand Its Keeper,Portrait to the Safavids in the sixteenth century. of Hatifi, and Two Lynx and Two Antelope, Haydar 'Ali's 27. Such a mechanism of transmission was also suggested by Horse and Groom, and 'Abd al-Samad's Horse and Groom Martin, "Miniature by Gentile Bellini," p. 116. 56 DAVID J. ROXBURGH

28. For one example - the opposition of a painting and item supporting the connection between Rustam 'Ali and drawing depicting the royal household and a courtier, Bihzad is a calligraphy pasted into Album H. 2154 in which respectively - arranged on facing pages, see Roxburgh, Rustam 'Ali added "Bihzad" to his signature (fol. 140a, "Our Works Point to Us," 1: 235-39. no. 2). Family connections during the Safavid period have 29. The Portrait of Sultan Husayn Mirza was discussed above, also been noted by Anthony Welch, Artists for the Shah: Court Iran see n. 19. The photograph of the Portrait of a Dervish Late Sixteenth-CenturyPainting at the Imperial of Haven and London: Yale from Baghdad published in Migeon (Manual d'art (New University Press, 1976), and n. 4. musulman, p. 42, fig. 36) shows border rulings that do p. 154, 37. For an of the Florentine in the not match the present folio context of the painting as interpretation portrait album as visual see it survives today in Dublin (following immediately after European/Islamic polemic, Roxburgh, "Our Works Point to 1: 342-46. the illuminated ascription is a green and gold-sprinkled Us," 38. "Two Portraits Bihzad," 7. Still earlier, in paper border). Martin, by p. 1906, Martin listed some of the contents of the Bellini 30. For a general discussion of the Amir Ghayb Beg Album, Album. Included were of Persian and Turkish see Roxburgh, "Our Works Point to Us" , vol. 1, chap. 5. specimens on ... Principal references to it may be found in the notes. calligraphy, "thirty European engravings copper, and oriental miniatures, some the best 31. Assembled in 1560-61 by Muzaffar 'Ali for Amir Husayn Beg; thirty-two by Persian artists, two one Chinese, and one a for general discussion of the album, see ibid., vol. 1, chap. Japanese, by master" (F.R. Martin, "A Portrait Gentile 5. references to it may be found in the notes. European by Principal Bellini Found in 9 32. Although we may never know the full range of motives Constantinople," Burlington Magazine 1906]: His for the Safavid albums, one hint is offered [April-September, 148-49, 148). description reorganizing is far the closest to the Bellini Album as it exists the embossed titles on the by today by Hamidian-period bindings in New York. added to the Safavid albums. Titles seem to have been 39. Ivan "Notes sur des du individual albums as containers Stchoukine, peintures persanes assigned by designating Serail de 226 117- of or albums have Stamboul," Journal Asiatiques (1935): specific script types groups. Thus, may 117. been taken and their folios and 40; apart reorganized 40. Ibid. to of regrouped according categories script. 41. Boston, Isabella Stewart Gardner Museum, File 33. Other in the Bahram Mirza Album include fols. Object examples Notes for cat. no. P15e8, Letter dated 28 31 and 40. Fol. 31 a Azhar Correspondence. comprises calligraphy by (fl. 1907. French text: "Les interets fifteenth on one and a Ahmad September, diplomatiques century) side, painting by de Suede en laissent du a d'autre Musa fourteenth on the other. Fol. 40 is Turquie temps s'occuper (fl. century) similar, chose etre servir les musees on one side and etje pourrai peut d'Amerique placing sixteenth-century calligraphies en signalant ce a d'interessant en fait (?) d'art another Ahmad Musa on the other. qu'il y painting by antique ou oriental. Mon ami Zorn sait que j'ai l'oeuil 34. Dust Muhammad, "Introduction to the Bahram Mirza Al- [sic] un peu habitue, mais en general j'aime les objets bum," trans. W.M. Thackston, A Princes: Sources Century of qui ne seront classes et connus que dans vingt ans." on Timurid and Art Mass.: Khan History (Cambridge, Aga 42. Martin, "Portrait by Gentile Bellini," p. 149. for Islamic 347. Program Architecture, 1989), pp. 335-50, 43. Washington, D.C., Freer Gallery of Art, no. 37.22. 35. A of Nizami's Khamsa dated 1522 manuscript (, Numerous references are made in the scholarship to this Gulistan contains a note which states that Library), Haydar painting. The most comprehensive summary of these is 'Ali was Bihzad's for et nephew; reference, see Binyon al., in the Object File Notes of the Freer Gallery of Art, Persian Miniature Painting, p. 129, cat. no. 129(b). Washington, D.C. The painting is published in Sakisian, 36. For example, on fol. 83b, works by Mirak Naqqash and La miniature persane, no. 83, pl. 49, and in an article, - - Bihzad father and son are placed side by side. The Sakisian, "A propos trois miniatures inedites de Behzad," pedagogical relationship of father and son (or master and La Revue de l'Art, 51, 282 (January, 1927): 15-20. Sakisian pupil), one of the fundamental dynamics for the transmission lent the painting to the Exhibition of Persian Art in of artistic knowledge, is represented by examples in the al- London in 1931 (Royal Academy); Binyon et al., Persian bum proper. Fol. 83b, the page on which Bihzad's Qalandar Miniature Painting, pp. 100-101, cat. no. 90. is pasted, also combines a pen-and-ink drawing depicting 44. Washington, D.C., Freer Gallery of Art, no. 37.20. The two combatants, inscribed with the gold nasta'liq caption, most comprehensive list of references may be found in "This black pen [qalam-i siyahi] is by Ustad Mirak the mas- the Object File Notes of the Freer Gallery of Art, Wash- ter of Ustad Bihzad," with a CrouchingLion ascribed to Bihzad. ington, D.C. The painting is published in Sakisian, La A formal relationship between Mirak's combatants and miniature persane, pl. 87, fig. 156, p. 117. Bihzad's lion is easy to discern; their skill as draftsmen and 45. Geneva, Collection of Prince Sadruddin Aga Khan, no. designers is shown by the juxtaposition of their works. Family Ir.M. 192. The portrait is discussed and illustrated in Lentz relations require separate study. Primary sources assert that and Lowry, Timur and the Princely Vision, p. 284, cat. no. the calligrapher Rustam 'Ali was a nephew of Bihzad, and 156; Falk ed., Treasures of Islam, p. 66, cat. no. 37; A. Muzaffar 'Ali was also connected to Bihzad by family ties. Welch and S.C. Welch, Arts of the Islamic Book, pp. 67- The painter Haydar 'Ali's mother was supposedly a sister 69, cat. no. 20; Dickson and Welch, Houghton , of Bihzad. It would appear that Bihzad's extended family 1: 34, 193, and 240, n. 12; Sakisian, La miniature persane, constituted a "" of practitioners, an idea perhaps pl. 97, fig. 129. inspired by the notion that abilities are inherited. One 46. Dated by S.C. Welch and Anthony Welch to ca. 1540. F.R. MARTIN AND THE BAHRAM MIRZA ALBUM 57

They suggest that the painting comes from the Bahram der Kbniglich PreuszischenKunstsammlungen 27 (1906): 302- Mirza album (Arts of the Islamic Book, p. 67). 306. See also Raby, "El Gran Turco: Mehmed the 47. Geneva, Collection Prince Sadruddin Aga Khan, no. Ir. Conqueror," pp. 61-64 and 73-75. For an essay on Costanzo M. 94. The drawing is discussed and illustrated in A. Welch da Ferrara, see Maria Andaloro, "Costanzo da Ferrara: Gli and S.C. Welch, Arts of the Islamic Book, pp. 65-67, cat. anni a Constantinopoli alla corte di Maometto II," Storia no. 19; A. Welch, Collection of Islamic Art, 4 vols. (Gen- dell'Arte 38/40 (1980): 185-212. Dust Muhammad eva: Prince Sadruddin Aga Khan, Chateau de Bellerive, attributes the painting to Ibn Mu'adhdhin. For a broader 1972), 3: 64-65; Dickson and Welch, Houghton discussion of connections between European and Ottoman Shahnameh, 1: 34, 193, and 240, n. 12; Sakisian, La painting in general, see Raby, "Mehmed II Fatih and the miniature persane, pl. 75, fig. 134. Welch and Welch Fatih Album," pp. 42-49. suggest that it was removed from the Bahram Mirza Al- 52. Washington, D.C., Freer Gallery of Art, no. 32.28. For bum. reproduction see Atll, "Ottoman Miniature Painting," pl. 11, 48. New York, Metropolitan Museum of Art, bequest of Cora fig. 25. The painting is ascribed to Bihzad. Timken Burnett, no. 57.51.29. The painting is published in 53. Dublin, Chester Beatty Library, no. 3094.5. The painting was Ernst J. Grube, Muslim Miniature Paintings from the XIIIth to first published by Martin in 1909 ("Two Portraits by Behzad," XIXth Century, exhibition catalogue (: Neri Pozza p. 7). He believed that the ascription and illuminated Editore, 1962), pp. 75-76 cat. no. 55, fig. 55; Binyon et al., "arch-shaped ornaments" were added during the album's Persian Miniature Painting, pp. 100, 173, cat. no. 88, B. 88. construction ca. 1600. Martin published the painting again For color reproduction, see Sakisian, La miniature persane, in 1912; see Martin, Miniature Painting, pl. 85. I would pp. 68 f, pl. 2. like to thank Anna Contadini for locating the painting 49. Los Angeles, Los Angeles County Museum of Art, no. in the Chester Beatty Library collection and for expediting TR 12220.20. Published in Sakisian, La miniature persane, my request for photographs. pl. 87, fig. 155. I would like to thank Linda Komaroff 54. For color reproduction and description, see Ebadollah for helping to relocate this long-lost painting and for Bahari, Bihzad:Master of PersianPainting (London: I.B. Tauris, providing me with photographs of it. 1996), pp. 174-177, fig. 106. I would like to thank Ebadollah 50. Cambridge, Mass., Harvard University Art Museums, Arthur Bahari for answering my questions about the painting which M. Sackler Museum, no. 1958.59. The most pertinent sources he studied while doing research for his book. for the are drawing Martin, "Two Portraits by Behzad"; Lentz 55. See Roxburgh, "Our Works Point to Us," vol. 2, Catalogue: and Lowry, Timur and the Princely Vision, p. 243, cat. no. 136; Album H. 2154, fol. illb, no. 2, Study of a Seated Man. Marianna Shreve Simpson, Arab and Persian Painting in the 56. At present it is not possible to determine whether Fogg Museum (Cambridge, Mass.: Fogg Art Museum, Harvard calligraphies or other items are attached to the reverse of University, 1980), pp. 76-77, cat. no. 26; Sakisian, La the painting. Such a project would require conservation work miniaturepersane, pl. 37, fig. 59; Binyon et al., PersianMiniature (personal communication, Anna Contadini). cat. no. Painting, p. 100, 89; Martin, Miniature Painting, pl. 57. Boston, Museum of Fine Arts, Bartlett Fund and Special 81. The drawing was owned by Martin, then Cartier, before Contribution, no. 14.545. For color illustration, see Lentz it came to the Fogg Museum. and Lowry, Timur and the Princely Vision, p. 187 and cat. no. 51. Boston, Isabella Stewart Gardner Museum, no. P15e8. The 86. The page and its reverse side are described in A.K. painting was first published by Martin in 1906. See Martin, Coomaraswamy, Les miniatures orientales de la Collection "Portrait by Gentile Bellini," pp. 148-49. His later publica- Goloubewau Museum of Fine Arts de Boston (Paris: G. van Oest, tions of the painting include Martin, "The Miniature by 1929), pp. 37-40, fig. 55a. It was illustrated by Martin, Gentile Bellini Found in Constantinople," Burlington Miniature Painting, pl. 51. I would like to thankJulia Bailey Magazine 11 (1907): 115-16; and Miniature Painting, pl. for helping me with my research at the MFA. 225 (a). See also Friedrich Sarre, "Eine Miniature Gentile 58. New York, Metropolitan Museum of Art, "Bellini Album," Bellinis gemalt 1479-1480 in Konstantinopel," Jahrbuch no. 67. 266.7.1; fol. no. 67.266.7.9.