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Lot Essay
The inscription in the upper cartouche reads, al-Sultan Fath 'Ali Shah Qajar, 'the Sultan Fath 'Ali Shah Qajar'. Below this is the signature, which reads, raqam-e ghulam khanah-zad Baqir, 'Drawing of the slave born of the household, Baqir',
Fath 'Ali Shah (r. 1797-1834), was probably the most frequently depicted of the Qajar Kings. Splendid portraits were produced of him by a number of court artists. B.W. Robinson suggests that one reason for this was no doubt that "he was inordinately handsome, and his fine eyes, wasp-like waist, luxuriant beard and dazzling jewels [were] unfailingly noted by travellers and envoys who had the privilege of an audience" (B.W.Robinson, 'Persian Royal Portraiture', in Edmond Bosworth and Carole Hillenbrand (eds.), Qajar Iran. Political, Social and Cultural Change 1800-1925, Edinburgh, 1983, p.297). The portraits known are mostly oils, although there are a number of published enamel portraits, such as that offered here. The monarch's love for self-portraiture led to his being the first Persian ruler since the Arab conquest to have his portrait on the coin of the realm. He even imitated the Achaemenid and Sasanian practice of having himself portrayed on rock reliefs (Robinson, op.cit., p.298).
Muhamamd Baqir (active between 1740 and 1800) produced a number of portraits for Fath 'Ali Shah - many probably commissioned as diplomatic gifts - like the present example. A similar portrait is in the Nasser D. Khalili Collection (Stephen Vernoit, Occidentalism, London, 1997, no.53, pp.96-97). Amongst the artist's other works are a splendid covered bowl, saucer and spoon, now in the Ashmolean Museum, which is decorated with the signs of the zodiac, the planets and astrological figures and inscribed with dedicatory verses to Fath 'Ali Shah (Layla Diba, Royal Persian Paintings. The Qajar Epoch 785-1925, no.62, pp.211-212). He also decorated a teapot enameled with busts portraits of Fath 'Ali Shah and floral swags, now amongst the Persian Crown Jewels in the Central Bank of Iran, Tehran ('Qajar Painted Enamels', in B.W.Robinson, Studies in Persian Art, vol.I, London, 1993, fig.122, p.309). B.W.Robinson describes Baqir as "one of Fath 'Ali Shah's ablest court artists in enamel" and his work as "meticulous and highly accomplished" (Robinson, op.cit., p.300).
On the Ashmolean set, the Tehran teapot, and both our portrait and that in the Khalili collection, Baqir signs in the same manner, ghulam khanah-zad Baqir, 'the slave born in the household Baqir'. Vernoit writes that this signature reflects the fact that Baqir was a craftsman in the royal workshop. Although he signs differently on other media, our Baqir is also identifiable with Muhammad Baqir the lacquer painter who produced the back cover of a binding for Fath 'Ali Shah, made to cover the copy of the Khamsa copied for Shah Tahmasp between 1539-43 (now in the British Library, Vernoit, op.cit., p.96). He is also believed to be an illuminator, and amongst his known work in this discipline counts a number of the borders in the St. Petersburg muraqqa. He was still at work in 1829-30 when he drew a Gul o Bulbul study signed 'Muhammad Baqir ibn Muhammad 'Ali Minasaz', or 'the enameller' (sold in Paris, Palais d'Orsay, 16 June 1977, lot 165).
As an aside, there are works by Muhammad Baqir signed 'Muhammad Baqir ibn Muhammad 'Ali', suggesting that he thought his parentage a source of prestige. It has been suggested that he was in fact the son of Muhammad 'Ali Naqqashbashi, who was the grandson of 'Ali Quli Jabbadar, who is the artist responsible for lot 163 in this sale (Khalili et.al, op.cit., p.76).
Sir Henry Willock (1790-1858) was a Lieutenant-Colonel and the British Envoy to Iran from 1815-1826. In 1826 Fath 'Ali Shah presented him with the 'Order of the Lion and the Sun', which was instituted by the Shah to honour foreign officials who had rendered distinguished services to Iran. He later became chairman of the East India Company, between 1844-45.
An unsigned enamelled portrait medallion of Fath 'Ali Shah sold at Sotheby's, 19 October 1995, lot 119.
Fath 'Ali Shah (r. 1797-1834), was probably the most frequently depicted of the Qajar Kings. Splendid portraits were produced of him by a number of court artists. B.W. Robinson suggests that one reason for this was no doubt that "he was inordinately handsome, and his fine eyes, wasp-like waist, luxuriant beard and dazzling jewels [were] unfailingly noted by travellers and envoys who had the privilege of an audience" (B.W.Robinson, 'Persian Royal Portraiture', in Edmond Bosworth and Carole Hillenbrand (eds.), Qajar Iran. Political, Social and Cultural Change 1800-1925, Edinburgh, 1983, p.297). The portraits known are mostly oils, although there are a number of published enamel portraits, such as that offered here. The monarch's love for self-portraiture led to his being the first Persian ruler since the Arab conquest to have his portrait on the coin of the realm. He even imitated the Achaemenid and Sasanian practice of having himself portrayed on rock reliefs (Robinson, op.cit., p.298).
Muhamamd Baqir (active between 1740 and 1800) produced a number of portraits for Fath 'Ali Shah - many probably commissioned as diplomatic gifts - like the present example. A similar portrait is in the Nasser D. Khalili Collection (Stephen Vernoit, Occidentalism, London, 1997, no.53, pp.96-97). Amongst the artist's other works are a splendid covered bowl, saucer and spoon, now in the Ashmolean Museum, which is decorated with the signs of the zodiac, the planets and astrological figures and inscribed with dedicatory verses to Fath 'Ali Shah (Layla Diba, Royal Persian Paintings. The Qajar Epoch 785-1925, no.62, pp.211-212). He also decorated a teapot enameled with busts portraits of Fath 'Ali Shah and floral swags, now amongst the Persian Crown Jewels in the Central Bank of Iran, Tehran ('Qajar Painted Enamels', in B.W.Robinson, Studies in Persian Art, vol.I, London, 1993, fig.122, p.309). B.W.Robinson describes Baqir as "one of Fath 'Ali Shah's ablest court artists in enamel" and his work as "meticulous and highly accomplished" (Robinson, op.cit., p.300).
On the Ashmolean set, the Tehran teapot, and both our portrait and that in the Khalili collection, Baqir signs in the same manner, ghulam khanah-zad Baqir, 'the slave born in the household Baqir'. Vernoit writes that this signature reflects the fact that Baqir was a craftsman in the royal workshop. Although he signs differently on other media, our Baqir is also identifiable with Muhammad Baqir the lacquer painter who produced the back cover of a binding for Fath 'Ali Shah, made to cover the copy of the Khamsa copied for Shah Tahmasp between 1539-43 (now in the British Library, Vernoit, op.cit., p.96). He is also believed to be an illuminator, and amongst his known work in this discipline counts a number of the borders in the St. Petersburg muraqqa. He was still at work in 1829-30 when he drew a Gul o Bulbul study signed 'Muhammad Baqir ibn Muhammad 'Ali Minasaz', or 'the enameller' (sold in Paris, Palais d'Orsay, 16 June 1977, lot 165).
As an aside, there are works by Muhammad Baqir signed 'Muhammad Baqir ibn Muhammad 'Ali', suggesting that he thought his parentage a source of prestige. It has been suggested that he was in fact the son of Muhammad 'Ali Naqqashbashi, who was the grandson of 'Ali Quli Jabbadar, who is the artist responsible for lot 163 in this sale (Khalili et.al, op.cit., p.76).
Sir Henry Willock (1790-1858) was a Lieutenant-Colonel and the British Envoy to Iran from 1815-1826. In 1826 Fath 'Ali Shah presented him with the 'Order of the Lion and the Sun', which was instituted by the Shah to honour foreign officials who had rendered distinguished services to Iran. He later became chairman of the East India Company, between 1844-45.
An unsigned enamelled portrait medallion of Fath 'Ali Shah sold at Sotheby's, 19 October 1995, lot 119.