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    Sale 7571

    Art of the Islamic and Indian Worlds

    8 April 2008, London, King Street

  • Lot 80



    Price Realised  


    In three parts comprising a domed base with everted skirt extending to three tripod feet, rising in the centre to support the central columnar section with a large boss above and below, flat upper tray with raised rim, the domed base, the two bosses and the central column each with a central band of hexagonal strapwork containing palmettes against a pierced ground, bands of benedictory inscription above and below, each of the powerfully fashioned hoof feet flanked by stylised birds' heads, the tray with a delicate rope meander border, the majority covered with an even red patina
    34¼in. (87cm.) high

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    The inscriptions are as follows:
    On the shaft, the wide band: bi'l-yumn wa al-baraka wa al-surur wa al-sa'ada li-sa [hibihi] (With Good-fortune and Blessing and Joy and Happiness to its owner). On the other bands, a repetition of: bi'l-yumn wa al-baraka wa al-ni['m]a wa al-surur wa .... (With Good-fortune and Blessing and (God's) Grace and Joy).'

    On the base, repetition of: bi'l-yumn wa al-baraka (With Good-fortune and Blessing). In the corners, repetition of li'llah (For God).

    This is a remarkably well preserved and massive bronze lampstand, just taller than a similar example sold recently at Sotheby's with which it shares a number of features (24 October 2007, lot 98). This example lacks the lion feet of the other, but both make extensive use of pierced panels; here these are of a finer and more delicate design where each palmette enclosed within the hexagonal strapwork lattice is carved to make it slightly rounded. This common motif though the domed base and the three main elements of the shaft demonstrate clearly that all is part of the same original composition. The heaviness of the casting of the legs, with their rounded contours, is matched by the execution of the tray which is unusually heavy and has an elegant rounded tapered raised rim.

    The strength of the overall form is balanced by the delicacy of the fine engraved inscription bands, notably the minor bands which contain a long string of benedictory inscriptions in favour of the owner. The way the deeply incised fine minor bands contrast with the elegant lightly engraved upper large band is a clear demonstration of the quality of work capable of being achieved by the Khorassan bronzesmiths of the period.

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